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            <title type="text">DAW comparison - What is the best music software in 2021?</title>
            <id>https://www.studiotemplates.com/blog/daw-comparison-what-is-the-best-music-software-in-2021</id>
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                                            In the following DAW comparison, we will first introduce you to four of the market leaders in the form of Ableton Live, Cubase, Logic Pro and FL Studio. In a second step we compare their main features with each other. Afterwards, we will look at the question of which DAW would...
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                 Introduction 
 If you are at the beginning of your career as a music producer and you are eager to finally turn your ideas into tracks, the first essential question that inevitably arises is which digital audio workstation (DAW) you should use. If you look at the development of production conditions for music producers over the past decades, today&#039;s situation is of course great. While in the past you needed dedicated studio complexes with astronomically expensive outboard equipment like tape machines, mixing consoles, instruments and so on to produce professional-sounding music, digitalization has brought about far-reaching changes in the field of music production as well. 
 Today the starting conditions have improved significantly: A laptop and a single software are enough to achieve high-quality results. This allows even beginners an easy start in music production, without having to invest vast sums in equipment. This reduction naturally confronts you with the decision to choose your command center in the form of a DAW that gives your creativity unrestrained free flow and combines the processes of recording, mixing and mastering in itself. Of course, you want to make the right decision in order to create a good production infrastructure and to avoid having to worry after a while whether you would have been better off choosing a different DAW or even wanting to switch to another one. Certainly, there are also experienced producers who work with different DAWs in parallel to combine the best features and characteristics of one software with the best of another to ensure the best production flow for them. Let us imagine a fictitious producer who owns all DAWs, knows them inside out, and can thus also best assess their supposed advantages and disadvantages. For example, he uses a DAW for brainstorming and creating individual sounds, because this DAW offers him a very comfortable interface for quickly releasing his creativity. In the next step, he uses another DAW to capture the ideas in recording and editing the takes, because high-quality recordings can be realized quickly in this DAW. He uses yet another DAW to arrange the individual audio and MIDI tracks and to mix the arranged tracks because he sees special advantages here as well. Finally, he uses another DAW for mastering because he values this DAW the most for this step. 
 Phew, you will think to yourself, that is going to be a tough choice, especially since many of the individual DAWs are also available in different versions. But don&#039;t get crazy, this was just an extreme case to show that the perfect DAW probably does not exist. The good news is that, of course, every DAW has advantages and disadvantages, but these days any full version of the leading DAWs can cover virtually all areas of the professional music production creation process. In addition, the healthy competition between the developers ensures that updates constantly implement new features into the respective software that were previously only offered by the competitor. So, which DAW would you like to buy now? In the following DAW comparison, we will first introduce you to four of the market leaders in the form of Ableton Live, Cubase, Logic Pro and FL Studio. In a second step we compare their main features with each other. Afterwards, we will look at the question of which DAW would be a suitable choice for which type of producer. After a direct comparison of all four DAWs with each other, we will summarize the consideration and give you an outlook on the way. Let&#039;s get started! 
 Introducing Ableton Live 
 Ableton Live has established a name for itself as one of the top dogs in music production, especially in recent years. Starting as a niche product with a look that took some getting used to, especially for the untrained, the DAW is now indispensable in the context of professional music production, with a special focus on electronic genres. The software has developed more and more into a full-fledged DAW, mainly as a working environment in the stationary studio, while the groundbreaking basic concept has always been convincing as a production environment in the live area. Whereas with long-established digital studio solutions it was more or less clear that the existing setup only worked in the studio, Ableton Live brought the studio to the stage. In all three variants of the software, Ableton Live Intro, Ableton Live Standard and Ableton Live Suite, this philosophy is obvious. Most clearly, this is demonstrated by the unique &quot;session view&quot;. In this view, which can be displayed alongside a more traditional arrangement window, you can create clips, process samples or build loops during an ongoing project. Combined with the great connectivity to various hardware controllers, the DAW becomes a live instrument for DJs who want to improvise with samples and loops or even build complete remixes into their sets in real time. 
  Pros:  
 
 superb for live performances 
 independent, loop oriented concept 
 session-view as a unique feature 
 great integration of external hardware, especially for live applications 
 characteristic user interface 
 self-explanatory operation after familiarization 
 all important functions and views can be displayed in one window 
 predestined for electronic music 
 
 &amp;nbsp; 
  Cons:  
 
 requires, especially if you are used to linear DAWs, some training time 
 audio recording and editing in direct comparison rather simple 
 
  Link:  Ableton Live  
   
 &amp;nbsp; 
 Introducing Cubase 
 In a comparison of the best DAWs, there is no getting around Cubase. Available in three versions, Cubase Elements, Cubase Artist and Cubase Pro, the DAW offers pretty much everything that the heart of the ambitious producer desires. From the excellent recording capabilities to the in-depth editing of the Artist and Pro versions’ unlimited number of audio and MIDI tracks, to mixing on the sophisticated mixing console, the DAW covers all aspects of the modern studio producer&#039;s daily routine. Beyond typical creative work like building beats or songwriting sessions and typical technical work like audio engineering of a track, the DAW is also excellent for scoring. Even top-notch transcripts can be created. With the DAW&#039;s excellent engine, the high-quality sounding included software instruments and audio effects come into their own. Constantly developed for decades, it can take a little longer for newcomers to find their way around the software interface due to the sheer overwhelming number of additional features and setting options. Nevertheless, the rather long learning phase is always rewarded by the great capabilities of the DAW. 
  Pros:  
 
 the mother of all professional DAWs 
 excellent editing possibilities for audio and MIDI material 
 very well suitable for composing and scoring 
 Pro version leaves practically nothing to be desired 
 new possibilities open up with increasing familiarization 
 supports virtually all common audio and plugin formats 
 covers all areas in the professional studio 
 included plugins are of highest quality 
 
 &amp;nbsp; 
  Cons:  
 
 Cubase Artist and Cubase Pro require a dongle 
 usually takes a long time to learn and get used to 
 
  Link:  Cubase  
   
 &amp;nbsp; 
 Introducing Logic Pro 
 Logic Pro can only be used under MacOS. This statement may be a direct exclusion criterion if you are a Windows user and do not plan to buy a Mac. But if you are a fan of Apple&#039;s architecture, or if you are about to buy a new computer anyway, Logic Pro can offer you some decisive advantages. It is not for nothing that an ever-growing number of creative professionals swear by the Mac as their preferred working tool, as Apple&#039;s own hardware works perfectly with their own operating system and is characterized by high stability and an easy, user-friendly workflow. A Mac always comes with MacOS - MacOs requires a Mac. With this hardware binding Apple pursues the approach to always deliver a functional, coherent product. With Logic Pro, Apple consistently continues this approach in the professional audio area with Logic Pro. There are no different expansion editions of the DAW, the current Logic Pro X is always the flagship of the Logic family and includes all samples, loops, instruments, plugins and features. And all of that is impressive, especially considering the wide selection of included plugins and the sheer size of the individual sound libraries. The DAW is not focused on a specific area of production but represents a great all-round DAW with a well-thought-out structure as a guarantor for fast operation and great variability. 
  Pros:  
 
 great all-round DAW 
 fast learning curve 
 self-explanatory user interface 
 relatively low price 
 huge sample and loop library 
 large number of integrated, well-designed high-quality plugins of all kinds 
 excellent suitability for scoring video material 
 supports a creative workflow 
 
 &amp;nbsp; 
  Cons:  
 
 available for Mac only 
 only supports plugins in AU format 
 
  Link:  Logic Pro  
   
 &amp;nbsp; 
 Introducing FL Studio 
 When FL Studio was named Fruity Loops in the past, the DAW was often smiled at as music production software for little kids. On the one hand, this was due to the simple appearance and the supposedly playful, brightly colored user interface, on the other hand, it was mainly due to the seemingly very limited range of functions. Reasons for this was that the software with its functionality based on the arrangement of patterns in the sense of a step sequencer was more like a pretty drum computer than a comprehensive digital recording studio. One thing that has changed considerably over the years is the functionality of the DAW. There are four editions available, FL Studio Fruity, FL Studio Producer, FL Studio Signature and FL Studio All Plugins. If Fruity can be considered an extremely attractively priced entry-level version, the Producer, Signature and All Plugins editions offer more and more features and plugins building on each other, making them the core of a fully comprehensive production environment. One thing that has not changed since the renaming is what has made developer Image Lines&#039;s DAW so popular: the always foolproof and quick user interface operation and layout. The software&#039;s steady professionalization within its straightforward concept makes FL Studio a good choice for creative electronic music producers and beatmakers who need to capture ideas quickly. 
  Pros:  
 
 lifetime free updates 
 short learning curve 
 extremely clear user interface 
 suitable bundles for every requirement 
 large and helpful community 
 extensive possibilities with step sequencer oriented operation 
 excellent suitability for scoring video material 
 supports a creative workflow 
 great for Dance Music or Hip Hop 
 
 &amp;nbsp; 
  Cons:  
 
 slight weaknesses in timeline-oriented production philosophy 
 the use of extended functions is still a bit bumpy in parts 
 
  Link:  FL Studio  
   
 &amp;nbsp; 
 DAW Comparison - The features at a glance 
        
 
 Which DAW is the right one for me? - The individual producer types and their DAWs 
 
 
 The individual producer types 
 
 
 At the beginning of this DAW comparison between Ableton Live, Cubase, Logic Pro and FL Studio we noted that each of the mentioned music production software can do almost everything. In the course of the above individual presentations, however, we have seen that each DAW has supposed advantages and disadvantages that can make it more or less useful than another DAW for the individual user. Assuming that a basic distinction can be made between a studio-oriented and a live-oriented use of a DAW, these two rough directions can be further diversified. For example, one music producer focuses on studio work, where he mainly records musicians and edits the resulting musical material, while another producer sits in the next room, where he develops song ideas and tweaks sounds. Yet another producer is primarily on the road in live performance and uses the DAW more or less exclusively on the go. He doesn&#039;t record audio material but wants to arrange samples into loops in real-time and attaches great importance to the unproblematic integration of MIDI controllers and groove boxes. It quickly becomes apparent that the purposes and the associated requirements for a DAW can differ considerably, which of course can mean a different choice of DAW. So let&#039;s take a look at three conceivable types of producers and a possible choice of their DAWs. 
 
 
 &amp;nbsp; 
 
 
 The recording artist 
 
 
 Let us start with Peter. Peter plays in a band and is responsible for the recording and production of demos, while also producing singer-songwriter music. For this type of producer, a DAW must therefore primarily do two things: First, it must provide him with a good basis for developing his creativity in the process of creating a song. Samples must be able to be quickly integrated and positioned, perhaps they rummage for loops over which the band can improvise to create their own riffs, licks and song structures. A clearly structured, intuitive interface and a large repertoire of sounds, loops and samples is advantageous here. Second, it is of course about the realization of pleasant and fast recording sessions. Quickly set up the microphone level, create proper monitoring for the singer, record, and directly after that crop the best takes into one final vocal track. Finally, the song material is to be mixed adequately and given the finishing touches in a quick mastering. The range of tasks is therefore quite large. A good choice for Peter would be for example Logic Pro or one of the Cubase variants. Both DAWs are best suited for recording, in both he can realize his creativity and the complete production of a self-contained track. While with Logic Pro he might like the uncomplicated operation and the always logical structure of all functions, with Cubase he will be thrilled by the incredible editing capabilities. 
 
 
 &amp;nbsp; 
 
 
 The DJ and remixer 
 
 
 Anna is completely dedicated to electronic music in all its facets. During the day she produces the tracks that she spins in the club at night. This includes fast remixes of the hottest club tracks, which she may even perform live. To do this, she uses a MIDI controller to fire off samples and arrange loops. She automates filters to create variety and to build tension with his audience. For a perfectly timed sequence, she has to keep an eye on all relevant parameters. At which point is the filter sweep at the moment? How much reverb is on the sample? Before the drop, she would like to quickly extend the build-up by eight bars. In the studio, these questions would probably not be a problem for Anna. After all, she can switch back and forth between various arrangements, automation and plugin windows, and if something should turn out wrong, the undo function can be used without further ado. Live it looks a little different because here there is only one attempt, which simply has to sit. So what is needed is a DAW that always offers the greatest possible overview and full control over musical events with the simplest possible operation. And this is where the great capabilities of Ableton Live come into play. Quickly arrange a few loops, insert patterns, create beats, all in real-time - no problem for Ableton Live. 
 
 
 &amp;nbsp; 
 
 
 The beat producer and engineer 
 
 
 Alexis is a passionate Hip Hop producer. He creates presets for his favorite software synthesizers, with which he then quickly plays in concise chord structures with his master keyboard or creates them in his MIDI editor and assigns catchy melodies to them. Next, verse, chorus, bridge, as well as intro and outro are arranged from his loop building blocks and assembled into a complete song structure via drag and drop. In short, Alexis’ goal is to produce a usable instrumental or beat in the shortest time possible. Recording acoustic instruments or vocals or rap parts from his clients is not particularly important to him, as he does everything strictly within the DAW and the vocal tracks are only sent to him once the rapper has recorded them at home over the beat created earlier. A very interesting DAW for Alexis might be FL Studio, because here he can be creative and achieve decent results at comparatively low cost, even with an entry-level version. In case he wants an all-in-one solution for editing the vocals and continuing to mix and master the song, a more comprehensive edition of FL Studio would certainly make sense, as it combines the intuitive workflow with increased functionality. 
 
 
 &amp;nbsp; 
 
 
 The DAWs in direct comparison 
 
 
   
 
 
 Ableton Live vs. Cubase 
 
 
 Right at the beginning of our direct comparisons, there seem to be major differences in terms of the respective independent functional principles. If the music production in Ableton Live is in its origin a purely pattern-based one, the procedure in Cubase is primarily oriented to the global timeline of the project. Of course, there is also a timeline in Ableton Live and individual pattern-based plugins such as the Groove Agent in Cubase, but the different structure of the two DAWs is always clearly recognizable. The key here is where the user&#039;s personal preferences lie in terms of the production approach. Both DAWs do a great job, whereby the strength of Ableton Live lies in the more live area, whereas Cubase is at home in the detailed studio work. 
 
 
 &amp;nbsp; 
 
 
 Ableton Live vs. Logic Pro 
 
 
 Similar to the previous comparison between the pattern-oriented Ableton Live and the timeline-oriented Cubase, Ableton Live meets the remaining timeline-oriented DAW, namely Logic Pro. With the update to version 10.5, Logic Pro also offers the user the opportunity to create projects in a non-linear way, comparable to the original principle of Ableton Live, via the function called Live Loop. Nevertheless, the advantages of Logic Pro in this comparison clearly lie in the stringent approach in the all-round studio, while Ableton Live clearly masters real-time producing, especially of electronic music. 
 
 
 &amp;nbsp; 
 
 
 Ableton Live vs. FL Studio 
 
 
 This is the comparison of the two loop-based DAWs. Both are primarily used for programming patterns, both are available in different bundles depending on budget and requirements, and both are primarily used for producing electronic music. So what is the difference between the two DAWs? While Ableton Live shines primarily through its outstanding features for DJs and live performances, FL Studio impresses primarily through its straightforward user interface, which allows any beginner to quickly build beats and create loops. If you decide on the concept of the step sequencer, it is worthwhile to test both DAWs in advance in order to get to know both of them. 
 
 
 &amp;nbsp; 
 
 
 Cubase vs. Logic Pro 
 
 
 Since the two big all-rounder DAWs meet here, the first question is which operating system should be used for production. If only a Windows PC can be considered, Cubase will be the obvious choice. If a Mac is also conceivable, you have the choice between both DAWs, whereby Logic Pro as an Apple product always works perfectly with the hardware and is significantly cheaper. Since both DAWs are real workhorses, you are spoiled for choice here. Do I rather like the self-explanatory user interface of Logic Pro, or do I want to gradually use all the superior features of Cubase Pro while putting up with the somewhat convoluted feel of the software? 
 
 
 &amp;nbsp; 
 
 
 Cubase vs. FL Studio 
 
 
 With the comparison between Cubase and FL Studio, two different conceptual approaches meet. To make this clear: Cubase Pro edition is ready to record, mix and master a symphony played by an entire orchestra, whereas in the Fruity Edition of FL Studio, no audio files can be recorded and edited. This in no way means that FL Studio is the inferior DAW, rather the above example shows the different areas of application of both DAW versions. The user of the FL Studio version previously mentioned can create a patterned instrumental for a chart song in no time at all, while an inexperienced user of Cubase Pro is probably still busy with the project settings. The decisive factor for both DAWs is the bundle and the working philosophy. 
 
 
 &amp;nbsp; 
 
 
 Logic Pro vs. FL Studio 
 
 
 The comparison between Logic Pro and FL Studio pits the two intuitive, probably most accessible DAWs against each other. For a user who wants to get started quickly and with a minimum of hassle, both DAWs are likely to be on the short list. The decisive factor here is probably the question of the basic concept of the respective DAW, since both DAWs differ quite clearly from each other in this regard. While the overall layout of Logic Pro might be more appealing to a chronological way of working, FL Studio tends to be more interesting for quickly building and arranging patterns and loops. 
 
 
 &amp;nbsp; 
 
 
 Summary 
 
 
 As you can see, the question of the best or perfect DAW is very tricky, because, after an objective assessment of the features, personal taste is what counts most. When deciding on a DAW, you should ask yourself the following questions: 
 
 
 
 Does the DAW fit my workflow? Here you can check out free trial versions of the respective DAW in advance to see whether the basic structure of the software suits your way of working. 
 When looking at the features, do I see any limitations regarding my projects? If you like the DAW itself, you can see if there is an edition with more features that meets your needs. 
 Which DAW do my friends or colleagues use? This is a point that should not be underestimated, as it affects several areas. One, of course, is your personal learning curve, as you can quickly ask a more advanced buddy who uses the same software for a tip on a preset, setting, or operation in the DAW, rather than spending a long time looking in the manual or anonymous forums. This is an immense benefit, especially in the beginning. If you even produce together with friends who use the same DAW, this point continues, since you can exchange projects with each other and work on them during collaborations without further adaption, instead of tediously creating them from scratch and then perhaps even having to constantly convert files. 
 Isn&#039;t a free DAW enough? If you have never had anything to do with making music or audio production before, it makes sense to get a taste of the field first to see if you basically enjoy it without having to invest a lot of money in equipment. For this, such free alternatives are of course great and worthy of all honor. But as soon as you get a taste for it, you will probably find out quite quickly that either the range of functions is very limited, the supply of updates is not guaranteed, or the distribution of the software in recording studios and among producers is very limited. Thus, the &quot;professional&quot; DAW quickly becomes without an alternative. 
 
 
 
 &amp;nbsp; 
 
 
 In summary, we can say that in the field of professional music production, you can&#039;t go wrong with Ableton Live, Cubase, Logic Pro or FL Studio and that the choice of DAW is more a matter of the subjective taste of the individual producer. The key is rather a reasonable familiarization with the DAW and music production in general since the DAW is of course not creative by itself, it does not record, mix and master on its own, but offers the user the best possible basis for it. 
 
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                            <updated>2021-04-22T00:00:00+02:00</updated>
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        <entry>
            <title type="text">The 30 best plugins for Ableton Live</title>
            <id>https://www.studiotemplates.com/blog/the-30-best-plugins-for-ableton-live</id>
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                                            Ableton Live is one of the best digital audio workstations (DAW) on the market. It is particularly popular with users for its intuitive interface and workflow. To further improve your workflow and get the best possible quality out of your productions, we have collected and rev...
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                 Ableton Live is used by a wide range of producers who appreciate the intuitive use of the software. Since its introduction in 2001, Ableton Live has been incredibly popular for its straightforward interface and workflow. Club music producers especially value the versatility and flexibility of the DAW when it comes to quickly adjust the speed and pitch of loops and samples. The intuitive user interface allows users to change their productions easily and clearly on a laptop. This is another reason why Ableton Live is so popular with DJs. Ableton Live comes with a wide range of professional samplers, synthesizers and effects. Also, two types of plug-ins can be integrated into Ableton Live: Virtual Studio Technology 2 (VST 2) and Audio Unit (AU), both in 32-bit and 64-bit formats. 
 To further improve your workflow and get the best possible quality out of your productions, we recommend using additional plugins within Ableton Live. These are generally synthesizers and effects. With so many plugins available, it&#039;s hard to know which ones will take you further, so we&#039;ve put together an overview to help you customize Ableton Live to best suit your needs. We&#039;ve taken into account how widespread the plugins are and how many other producers use them professionally, as well as the strengths and weaknesses of the plugins. The following overview will help you get to know the best plug-ins for Ableton Live and expand your DAW to take your productions to the next level. 
 1. Sylenth1 (LennarDigital) 
 Sylenth1 is one of the most frequently used VST synthesizers and has established itself as an absolute must-have in every studio, for professionals as well as for beginners. The reason for this is the user-friendly and straightforward interface and the excellent sound. Due to its wide distribution, there is a large community on the internet resulting in a wide range of free presets for Sylenth1. The look of the synth can be customized with free skins. Sylenth1 is available for Windows and Mac. The virtual analog synthesizer offers four oscillators with eight different waveforms each. Additionally, there are two LFOs with eleven different waveforms each, three different filter types and an effects section with seven master effects. 
 Pros: 
 
 excellent sound and a large collection of usable presets 
 simple structure and intuitive interface 
 versatile and flexible usage 
 moderate CPU usage 
 
  Link:  Sylenth1  
   
 &amp;nbsp; 
 2. Serum (Xfer Records) 
 Serum is a virtual wavetable synthesizer that can be heard in many current productions because of its easy handling and top-notch sound. The plugin has 450 contemporary presets and 140 wavetables and supports VST-, AU- (both in 64-bit) and AAX. No matter if basses, leads or pads, the sounds are rich, powerful and wide and leave nothing to be desired due to the wide range of options for oscillators and filters. Accordingly, Serum can be used for any style of music, from Dubstep to EDM or House. 
  Pros:  
 
 wide range of wavetables and a top-notch sound 
 easy to use interface 
 flexible use for different styles 
 
  Link:  Serum  
   
 &amp;nbsp; 
 3. Omnisphere 2 (Spectrasonics) 
 Omnisphere 2 is based on a large number of sampled synthesizers, which can be customized using the Omnisphere 2 engine and 58 effects. With 12,000 presets and a 64GB sample library, the synth leaves nothing to be desired when choosing the right sound quickly. The focus of Omnisphere 2 is not on simply sampled acoustic instruments but on material that is suitable for creating every conceivable synthesizer sound. In addition to this incredibly large sample base, Omnisphere 2 features a comprehensive synthesizer engine with 500 different DSP waveforms. Whether wavetables, granular, FM ... numerous filters, ring modulation, the bandwidth is amazing. Also, there are countless modulation options or features like Unison Drift, which emulates the slight pitch fluctuations of an analog synthesizer. All in all, Omnisphere 2 is such an extensive flagship that you don&#039;t need another synthesizer anymore. 
  Pros:  
 
 incredible 64GB sample library with 12,000 presets 
 extensive modulation capabilities 
 independent synthesizer engine with own waveforms 
 
  Link:  Omnisphere 2  
   
 &amp;nbsp; 
 4. Massive (Native Instruments) 
 The Massive from Native Instruments is an allround synth with extensive filter and modulation capabilities. It is based on wavetable technology and has several oscillators, filters and effects, as well as a comprehensive system for modulating multiple parameters. This is Massive’s strength: It allows you to create extensive routings that are not possible with most other synthesizers. In addition, Massive has a very good sound. Besides many potential applications, Massive is especially interesting for users who want to create individual and complex effect sounds. 
  Pros:  
 
 powerful sound 
 large number of filter types and modulation capabilities 
 sophisticated user and routing interface 
 
  Link:  Massive  
   
 &amp;nbsp; 
 5. Nexus (reFX) 
 Nexus is a sample player with a synthesizer function. It is popular because of its excellent programmed library with a large number of presets, especially usable in the Dance and Trance genre. The extensive library can be expanded with additional expansion packs that cover different styles from Orchestral to Hip Hop. A preset of the Nexus consists of up to four layers, each of which can use a multisample or one of eight classic waveforms as an oscillator. Various filter types are available for sound manipulation, as well as envelopes for filter and volume. Nexus also has a well-equipped arpeggiator, a trance gate and very good sounding effects. It is an excellent way to achieve perfect results in the studio very quickly. Therefore, it is not surprising that Nexus&#039;s sounds can be heard in a large number of international hit productions. 
  Pros:  
 
 large and sophisticatedly programmed library 
 exquisite sounding contemporary sounds 
 expandable through expansion packs 
 
  Link:  Nexus  
   
 &amp;nbsp; 
 6. Kickstart (Nicky Romero &amp;amp; cableguys) 
 Nicky Romero Kickstart is a widely used and intuitive sidechain compression plugin that allows you to create high quality sidechaining in any genre quickly. The plugin stands out with its graphical representation and the easy to use user interface, where the exemplary choices can be adapted to your needs in a short time. And that&#039;s exactly what Kickstart is all about: instead of exhaustingly adjusting all possible parameters of any compressor, you just set the desired waveform and the amount of ducking in the mix, and you&#039;re done. Kickstart is therefore ideal for all musical styles in which the bass drum is of great importance and its place in the mix has to be ensured. 
  Pros:  
 
 easy to use interface 
 flexible use for different styles 
 can be easily triggered and synced 
 compatible with any major DAW 
 
  Link:  Kickstart  
   
 &amp;nbsp; 
 7. Spire (Reveal Sound) 
 Reveal Sound Spire is a synthesizer that is highly appreciated by many top producers and sound designers as well as ambitious hobby producers. One reason for this is Spire’s great sound and the extensive control possibilities of all relevant parameters. When creating a sound, you have four oscillators at your disposal, which you can add numerous good sounding effects to. In addition, you find an integrated mixing and mastering section to prepare the sound optimally for your overall mix. Another reason for Spire’s success is the clearly arranged interface, quickly accessible for beginners and professionals alike. Widely used in electronic music, the plugin&#039;s versatility makes it suitable for practically any style of music. 
  Pros:  
 
 contains excellent presets for the EDM area 
 combines easy operation with great sound 
 constantly growing fan community that creates new soundsets 
 
  Link:  Spire  
   
 &amp;nbsp; 
 8. Avenger (Vengeance) 
 Vengeance Avenger is one of the most versatile synthesizer plugins available. A total of eight oscillators offer almost unlimited possibilities to shape the sound. All common waveforms can be selected, oscillation shapes can be freely drawn and your own samples can be layered. Besides numerous effects, dedicated filter modules, arpeggiators and endless modulation possibilities, Avenger also offers a drum sequencing function for up to 16 bars. Avenger combines the classic wavetable synthesizer with the sampler in one plugin and will satisfy even the highest demands in sound creation. 
  Pros:  
 
 extensive sound-shaping capabilities 
 moderate CPU usage 
 expandable through expansion packs 
 
  Link:  Avenger  
   
 &amp;nbsp; 
 9. Diva (u-he) 
 Diva (Dinosaur Impersonating Virtual Analogue) is a synthesizer plugin that features accurate digital replicas of legendary analog synthesizer circuits. The oscillators, envelopes and filters of the Minimoog, Juno-60, Jupiter-8 and MS20 have been recreated with great attention to detail for a vintage feel in almost any DAW. The excellent combinability of the individual synthesizer modules is especially noteworthy. For example, hybrids of Moog oscillators and Oberheim filters can be created, offering unimagined possibilities to those familiar with their analog counterparts. Diva manages to deliver the &quot;real&quot;, warm sound of some of the most famous analog synthesizers without expensive outboard equipment and still remains highly latency-free, assuming a reasonably fast CPU. 
  Pros:  
 
 implementation of modular building blocks 
 outstanding sound 
 self-explanatory interface 
 
  Link:  Diva  
   
 &amp;nbsp; 
 10. Kontakt (Native Instruments) 
 Native Instruments Kontakt is a software sampler that can be used standalone but also integrates excellently as a plugin to existing DAWs. Since its release, the sampler has become the industry standard in professional music production due to its great sound and features, as well as its intuitive usability. In addition to the more than 40GB of state-of-the-art samples included with the sampler, Native Instruments also releases great compatible expansions from time to time. Of course, you can also load your own audio files into the sampler, where they can be arranged quickly to create custom libraries. The plugin is rounded off by a well-functioning effects section, in which sounds can be tweaked further. Regardless of the music style, this plugin is the first choice when it comes to professional sampling. 
  Pros:  
 
 big library with top-notch sounds 
 expandable through expansion packs 
 easy to use 
 
  Link:  Kontakt  
   
 &amp;nbsp; 
 11. Guitar Rig (Native Instruments) 
 Guitar Rig makes it possible to virtually eliminate the need for classic analog equipment and hours of manual adjustments when recording and mixing electric guitars. In the modular and highly organized interface, detailed emulations of famous amp tops from Marshall, Mesa Boogie, Peavey, Fender, Orange and others can be combined with the most popular speaker cabinets. Once you have created your favorite stack, great effect chains can be arranged from countless well-known stompboxes and 19&quot; gear. The plugin is completed by an innovative control room, where the setup is recorded by great simulated microphone classics, where phase, position and room can be adjusted. Of course, guitar lovers enjoy experimenting with their analog treasures. Still, Native Instruments Guitar Rig offers ambitious producers the ability to create usable and reproducible guitar setups quickly. 
  Pros:  
 
 contains fine emulations of the most famous guitar equipment 
 easy to work with 
 can also be used standalone 
 
  Link:  Guitar Rig  
   
 &amp;nbsp; 
 12. Auto-Tune (Antares) 
 Antares Auto-Tune is probably the best-known plugin for manipulating the pitch of a track. It is the first choice of top producers from all musical genres when it comes to correcting vocals’ pitch and is used in countless hits. The editing with Auto-Tune works both in real-time and automatically, as well as allowing pitches to be edited manually offline. On the one hand, the plugin can be used as a subtle, practically inaudible pitch correction, which is what it was originally intended for. On the other hand, the processing is intentionally exaggerated, for example, in modern rap vocals and in many other areas of urban music, where it is often immediately recognizable as a stylistic effect. 
  Pros:  
 
 wide range of uses 
 excellent processing quality 
 MIDI compatible 
 
  Link:  Auto-Tune  
   
 &amp;nbsp; 
 13. Sausage Fattener (Dada Life) 
 Sausage Fattener by the producer duo Dada Life has developed over the years from an insider tip to an established name in the plugin market. The plugin can add saturation and distortion to individual tracks, making them more assertive and giving them an individual dirty character. It is also an excellent small but effective mastering tool on the master channel to affect volume and loudness. With only three controls for gain, fatness, and color, Sausage Fattener&#039;s interface is straightforward. The gain knob is used to quickly set the input level using the light next to it, while the other two knobs are dedicated to the actual processing of the sound. You have a small but powerful tool here, with which you can spice up single sounds or whole tracks. The plugin manages practically all nuances from discreet thickening to total distortion and thereby always sounds great. 
  Pros:  
 
 straightforward operation 
 versatile in use 
 excellent sound 
 
  Link:  Sausage Fattener  
   
 &amp;nbsp; 
 14. VintageVerb (Valhalla DSP) 
 If you are looking for a flexible, and at the same time, inexpensive reverb plugin, there is no way around the Valhalla VintageVerb. Under its easy-to-read and intuitive user interface, the plugin contains incredible 18 reverb algorithms, many of them closely modeled on the digital outboard devices from EMT and Lexicon. The reverb can be adjusted quickly and suitably in all relevant parameters to the user&#039;s wishes. Whether you want to add some depth to the signal or create huge reverb tails, the plugin always manages to deliver a clear, characteristic sound. Valhalla VintageVerb is a reverb plugin that brings the much-desired vintage sounds of the &#039;70s and &#039;80s into your studio in a detailed and authentic way without having to invest vast amounts of money in hardware equipment. 
  Pros:  
 
 wide range of sounds from classic to exotic reverb 
 intuitive to use 
 great value for money 
 
  Link:  Valhalla VintageVerb  
   
 &amp;nbsp; 
 15. Ozone (iZotope) 
 iZotope Ozone is a mastering suite that is second to none. The plugin shines next to well-known mastering tools like multiband compressor, multiband limiter, maximizer, exciter, equalizer, dynamic equalizer and imager, especially through its sophisticated additional functions. For example, the Master Rebalance function, where vocals or drums can be emphasized or lowered in the final mix, or the Master Assistant, making it much easier for every producer to master his track, are worth mentioning. Thus, a track can be fully finalized in terms of dynamics, frequency spectrum and stereo image. Ozone 9 Advanced offers all conceivable tools to make mastering easier and to raise the finished song to a competitive, highly professional level. The user interface offers a good overview of all relevant parameters, and the plugin is fully scalable according to user requirements. 
  Pros:  
 
 complexity with easy operation 
 three versions for every budget 
 great workflow 
 
  Link:  Ozone  
   
 &amp;nbsp; 
 16. Trash 2 (iZotope) 
 Besides more or less common plugins like compressors, equalizers, delays or reverbs, there are also several more unusual effects, which can be very interesting despite or because of their peculiarities. Trash 2 is the reincarnation of the already fantastic first distortion suite by iZotope. On the straightforward interface, you have direct access to six individual effect instances or parameters of the sound processing: Filter 1, Trash, Filter 2, Convolve, Dynamics and Delay. Within the individual instances, the sound shaping is done in the usual excellent iZotope quality and quite intuitive. For example, sounds can be easily distorted in no time to make them thicker and warmer, but they can also be completely destroyed. The sound control of the individual instances works so well that you can place Trash 2 in your effects chain as an equalizer or pure dynamic plugin without distorting it. The plugin is rounded off by more than 300 usable presets that cover every degree of distortion and offer more than just good starting points for your sound creation. 
  Pros:  
 
 leaves nothing to be desired in sound design 
 large collection of usable presets 
 moderate CPU usage 
 
  Link:  Trash 2  
   
 &amp;nbsp; 
 17. Vinyl (iZotope) 
 While most tools try to clean, polish and enhance individual tracks or even entire mixes, Vinyl has taken on the exact opposite task. However, this does not make the sound worse but preserves the charm of past analog days. In the compact plugin, the sound-influencing elements mechanical noise, wear, electrical noise, dust, scratch and warp can be influenced in the much-loved style of a classic vinyl record. The result is an authentic lo-fi character, which can give the sound that extra something. A decade with a particular characteristic can be selected by quick selection and the playback speed of the virtual record can be adjusted in one go. iZotope&#039;s Vinyl is a small but nice addition to any plugin collection that you should check out definitely. 
  Pros:  
 
 authentic sound 
 easy to use 
 it is available for free 
 
  Link:  Vinyl  
   
 &amp;nbsp; 
 18. Pro-L2 (FabFilter) 
 Pro-L2 is the limiter plugin of FabFilter and offers many useful additional features to the already great first version of the plugin. The plugin covers a wide range of different limiting styles with eight different algorithms, from subtle, discrete fine-tuning to the intentional and clearly noticeable coloration of the audio material. The logical usability of the interface allows the user to quickly achieve the desired result, which is fully convincing in terms of sound. The superbly working monitoring modes, the excellent graphical implementation of the limiting process and the metering function, where the track can be adapted exactly to the common streaming providers’ formats, round off the plugin. Indeed, there are many first-class limiter plugins available. Due to the wide range of functions and its versatility, Pro-L2 is almost unmatched. Therefore, it is the number one choice for many music producers of all genres and skill levels. 
  Pros:  
 
 amazing flexibility 
 top-notch sound 
 intuitive usability 
 
  Link:  Pro-L2  
   
 &amp;nbsp; 
 19. Genesis Pro (Oz-Soft) 
 Especially producers of electronic music might be interested in the VST hybrid synthesizer Genesis Pro from OZ-Soft. It offers three oscillators with a choice of subtractive, FM, phase distortion, multi-wave or ROM synthesis and a selection of eight different filter types with five saturation modes 14 effects are also on board to further refine the sound. If you don&#039;t want to tweak sounds and don&#039;t want to use the built-in layering options, simply use one of the 128 integrated presets. Useful features such as the intelligent chord mode for easier recording or the X-Gen Tone Generator for quick creation of sounds can speed up your workflow. One thing stands out and clearly distinguishes the plugin from its established competitors: the incredible price, making it a real no brainer. 
  Pros:  
 
 well-arranged design 
 good standard and special features 
 highly reasonable priced 
 
  Link:  Genesis Pro  
   
 &amp;nbsp; 
 20. PuigTec EQs (Waves) 
 If you love the sound of the classic Pultec equalizers EQP-1A and MEQ-5, but prefer not to go through a long search to get one of the rare tube units at a horrendous price, the Waves PuigTec EQs bundle is a perfect choice. Here the outboard equipment&#039;s iconic sound has been squeezed into two plugins that offer specific features. These include simultaneous raising and lowering of a frequency range to create resonating peaks with the EQP-1A or the precise midrange shaping of the MEQ-5, allowing you to put each instrument in its place. Waves achieved this ambitious project by digitally emulating the original personal studio equipment of Jack Joseph Puig, one of the music industry&#039;s most award-winning sound engineers and producers, down to the smallest detail. 
 
 superior sound 
 great value for money 
 moderate CPU usage 
 
  Link:  PuigTec EQs  
   
 &amp;nbsp; 
 21. Echoboy (Soundtoys) 
 Echoboy from Soundtoys is one of the most comprehensive and flexible delay plugins on the market. With 30 adjustable basic styles of the best known and most popular echo devices like the Roland Space Echo, the Electro Harmonix Memory Man, the Boss DM-2 or the Echoplex, to name a few, you can find the right preset in no time. Once you have found your favorite delay, you can adjust all relevant parameters to your needs on the logical and straightforward user interface. The extensive tap function makes a vital contribution to the plugin’s functionality, as it allows you to create simple, classic echos as well as unexpected rhythms, which can give new impulses to the creative process. Echoboy is an all-purpose delay weapon in plugin form that might meet all demands on sound and flexibility. 
 
 excellent sound 
 very useful presets 
 fits every style 
 
  Link:  Echoboy  
   
 &amp;nbsp; 
 22. Little Plate (Soundtoys) 
 Little Plate is a plate reverb plugin for which the developer Soundtoys took the sound of the legendary EMT 140 Plate Reverb as a reference. With only one switch for the space modulator, which allows you to choose between two different characteristics, a control knob for decay, one for low cut and one for mix, the plugin is very easy to handle. When it comes to decay time, Little Plate goes beyond the original device’s authentic emulation, which is enormous in its dimensions and exceeds its hardware counterpart. While the original was limited to 5 seconds decay time, the plugin&#039;s knob can be turned to infinity, which should be especially appealing for adventurous producers and sound designers. Little Plate never sounds ridiculous but always shows the vintage touch of the traditional plate reverb. 
 
 good, modern interpretation of the classic 
 simple structure and intuitive interface 
 moderate CPU usage 
 
  Link:  Little Plate  
   
 &amp;nbsp; 
 23. Saturn 2 (FabFilter) 
 Saturn 2, the distortion and saturation plugin from Fabfilter, offers no less than 28 styles. From classic tube and band saturation to sophisticated emulations of famous distorted guitar amps like Marshall Plexi or Fender Tweed, you can create almost any saturation effect via FabFilter&#039;s typical attractive user interface. The numerous handy presets for all usual tracks and buses can be easily refined with the extensive modulation possibilities, different transformers, several oversampling modes and drag and drop routings. Saturn 2 is a saturation plugin that covers the whole range of desired saturation effects. No matter if you want to add subtle warmth to your audio signal or experience the fullest distortion, even the smallest nuances can be realized intuitively via the clearly arranged user interface. 
 
 great versatility and flexibility 
 comprehensive modulation and routing possibilities 
 top-notch sound 
 
  Link:  Saturn 2  
   
 &amp;nbsp; 
 24. Timeless 2 (FabFilter) 
 Timeless 2 is a digitally emulated tape echo plugin that offers interesting features beyond the usual delay function. Besides two delay lines FabFilter has integrated two high-quality multimode filters in the layout of the plugin. These, in combination with phase inversion, adjustable feedback and cross-feedback, can also provide chorus, flanger and phase effects and thus guarantee great modulation possibilities. The handling and the sound are, of course, on the highest standard as known from FabFilter. Top equipped and with sound of the highest level, Timeless 2 is one of the best tape delay plugins. 
 
 deceptively real tape delay sound in plugin form 
 extensive modulation capabilities 
 can be easily triggered and synced 
 
  Link:  Timeless 2  
   
 &amp;nbsp; 
 25. FETpressor (PSP) 
 There are countless great compressor plugins that have catapulted the iconic 1176 sound into the fully digital modern era. The PSP FETpressor is not just one of many but offers a tremendous sounding emulation of the analog hardware and some authentic new features that make it much more flexible than the original. The attack time can be adjusted much shorter than with the analog gear, which improves the already fast response even more. The ability to set longer release times ensures unobtrusive and smooth compression, which, if desired, prevents significant pumping. A blend control knob for easy creation of parallel compression, a high-pass filter with sidechain function and a stereo linking option complete this decent plugin and make it a real recommendation among the 1176 style plugins. 
 
 characteristic sound 
 hardly any latency 
 very useful features 
 
  Link:  FETpressor  
   
 &amp;nbsp; 
 26. Pro-R (FabFilter) 
 Pro-R is an algorithmic reverb plugin by FabFilter, which can be distinguished from most of its competitors by its powerful sound processing capabilities. The integrated six-band decay rate eq opens up a new possibility in the sound shaping of hall decays. The seven controls brightness, character, distance, space, decay rate, stereo width and mix of the user interface are intuitive and highly functional. They allow the user to create excellent-sounding reverbs from small chambers up to astronomically large spaces in no time. Since the plugin sounds absolutely neutral and doesn&#039;t color the signal, it can be used as the default reverb plugin in most projects, where its flexibility allows it to meet most requirements. 
 
 simple operation 
 outstanding flexibility 
 no coloration of the sound 
 
  Link:  Pro-R  
   
 &amp;nbsp; 
 27. Decapitator (Soundtoys) 
 With five unique emulations of classic analog studio gear, Decapitator covers a broad range of characteristic saturation types. You can choose from preamps or channel strips in the style of the Ampex 350 tape machine, Chandler TG, Neve 1057, as well as two separate Thermionic Culture Vultures, one in triode and one in pentode basic settings. Paired with many multi-faceted presets and the plugin’s finely working control unit, subtle to character-strong saturation effects can be generated. Soundtoys Decapitator offers the whole package: great analog saturation sound without any outboard hardware, neat gimmicks like the punish button and an intelligently designed user interface. 
 
 distinctive analog sound 
 cleverly designed user interface 
 CPU-friendly 
 
  Link:  Decapitator  
   
 &amp;nbsp; 
 28. Pro-Q3 (FabFilter) 
 FabFilter Pro-Q3 is a multifunctional parametric equalizer plugin that offers up to 24 bands with nine filter types bell, notch, high- and low-shelf, high- and low-cut, band pass, tilt shelf, flat tilt. It also includes no less than three latency modes, dynamic eqQ function and numerous useful features like a highly useful spectrum analyzer or an intelligent networking of multiple Pro-Q3 instances. The logical structure of the user interface and the great workflow make all imaginable surgical and creative interventions of eqing possible in no time at all. The equalizer always sounds pleasant and never mechanical and impresses with a straightforward handling and great visual representation. FabFilter&#039;s Pro-Q3 is undoubtedly one of the best equalizer plugins available, offering brilliant sound and almost unlimited flexibility. 
 
 high quality sound 
 very flexible in application 
 easy to use interface 
 
  Link:  Pro-Q3  
   
 &amp;nbsp; 
 29. TAL-U-NO-LX (TAL Software) 
 TAL-U-NO-LX is an emulation of the legendary 80&#039;s Juno-60 synthesizer by Roland, whose unique sound has influenced many world hits of this era. In careful detail work, the swiss company TAL knew how to transform the hardware synthesizer into plugin form. The plugin offers absolutely authentic sound, which is in no way inferior to the original. A highlight of the TAL version, and what clearly distinguishes the plugin from most of the other emulations of retro devices, is that it doesn&#039;t have numerous worsening improvements that blur the feeling and originality of its predecessor. Thus, each control reacts like the hardware device when operated. The envelopes and filters respond in the same way as the original and the integrated chorus effect still offers two fixed settings. The TAL-U-NO-LX does what it is supposed to: It provides the classic’s sound in a straightforward form, without sacrificing the conveniences of the DAW-based age. 
 
 convincing vintage sound 
 moderate CPU usage 
 fully MIDI compatible 
 
  Link:  TAL-U-NO-LX  
   
 &amp;nbsp; 
 30. OTT (Xfer Records) 
 The plugin company Xfer Records is well known to many producers mainly because of the already mentioned terrific wavetable synthesizer Serum. he team also offers the up- and downward capable multiband compressor OTT, which can be heard on single tracks and on master buses on productions of big names of the electronic music scene like deadmau5, W&amp;amp;W, KSHMR or Illenium. The plugin comes with only four controls for depth to set the degree of compression, time to set attack and release time, as well as input and output gain. The three frequency bands can be controlled individually, and with the two control knobs upwrd and dwnwrd you can determine whether the signal gets cut or pushed. The easy-to-read display section shows what the plugin is doing in the low, mid and high frequency range. OTT does an awe-inspiring job with its punchy, aggressive sound for most genres of electronic music. On top of that, it&#039;s free, making it a must-have download for users of Ableton Live and all other DAWs. 
 
 self-explanatory interface 
 excellent functionality 
 free of charge to download 
 
  Link:  OTT  
   
 &amp;nbsp; 
                ]]>
            </content>

                            <updated>2020-06-07T00:00:00+02:00</updated>
                    </entry>

    
    
        <entry>
            <title type="text">Production advices for beginners - Don&#039;t fall for the myths</title>
            <id>https://www.studiotemplates.com/blog/production-advices-for-beginners-don-t-fall-for-the-myths</id>
            <link href="https://www.studiotemplates.com/blog/production-advices-for-beginners-don-t-fall-for-the-myths"/>
            <summary type="html">
                <![CDATA[
                
                                            If you&#039;re just at the start of your career as a producer, you will be confronted with a sheer flood of must-have plugins, must-have equipment, DAW recommendations, mixing techniques, and much more. Considering that, it is difficult to keep track and focus on what&#039;s important, ...
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            </summary>
            <content type="html">
                <![CDATA[
                 Introduction 
 Every beginning is difficult - of course also in the great sphere of music production. If you&#039;re just at the start of your career as a producer, you probably browse the Internet, journals, reference books, tutorials, forums and so on. You will be confronted with a sheer flood of must-have plugins, must-have equipment, DAW recommendations, mixing techniques, and much more that should guarantee you &quot;the&quot; only true sound and fast progress in developing skills. 
 Considering that, it is difficult to keep track and focus on what&#039;s important, producing music. However, regardless of the equipment you use, your DAW, the circumstances of your studio and your musical style, there are a few basic points you should keep in mind in order to ensure a stress-free start to music production, make rapid progress and develop your skills. 
 Let&#039;s start by uncovering the most prevalent myths. 
 The most widespread myths about Music Production 
 Of course, this enumeration is not complete, it could be continued indefinitely. However, the following myths are certainly high on the list of common mistakes and their clarification is especially interesting for beginners and aspiring music producers because they refer to basic views of everyday life in the studio. 
   
  &quot;Everybody can handle order, but only a genius can master chaos&quot;:   This myth primarily refers to the existence of the producer and musician as a creative head. Some creatives or artists say that keeping order, discipline and routines damage their creativity. This may also apply to some. However, creative people are often unaware of how much they are damaging their workflow. In general, however, you can assume that a solid structure will be helpful in producing music on a daily basis. Imagine that you are working on a track and want to add a specific sample. You have the sound right in your head, but what folder was it in? You can&#039;t find it in your chaos of files and folders and instead try another file that is just catching your eye. 
 With a systematic folder structure, the correct naming of your files and the dedicated partition of your hard disk this wouldn&#039;t have happened. Of course it may seem annoying at first to name and sort all your samples, tracks and projects correctly. But if you have a spontaneous idea and need quick access to a particular project or file, this is essential if you don&#039;t want to lose the idea. Create a working atmosphere that fits your needs and is structured in a meaningful way so that you can concentrate on the actual production of music. 
   
  &quot;You need tons of outboard gear and third party plugins&quot;:   Since you are interested in music production, you will inevitably have come into contact with advertisements for the latest plugins and hardware equipment. Most of them promise you an upgrade of your sound, a better workflow or an increase of your creativity. Don&#039;t get me wrong, many of these products are great and you&#039;ll get them sooner or later. But there is one crucial point: don&#039;t think that your music has to sound bad because you don&#039;t have the best interface or an expensive compressor. Especially at the beginning, many ambitious producers quickly suspect the supposed limits of their DAW or their equipment. As a result, they buy expensive accessories only to discover that nothing has improved significantly. 
 You should ask yourself the following questions: Is the problem that I suspect really related to my existing setup and the possibilities of my plugins? Have I set all the parameters of the plugin and hardware correctly? Keep in mind that many of today&#039;s top producers rely almost exclusively on their DAW&#039;s internal plugins for fabulous results. This is mainly because they know their favorite DAW inside out. Imagine that you know your software in detail - you&#039;d be surprised what results you can achieve. 
   
  &quot;You have to wait for inspiration&quot;:   You&#039;ve probably heard from people who work in some creative field that they don&#039;t make progress because they don&#039;t feel inspired. This view often goes hand in hand with the above-mentioned attitude of the &quot;genius that masters chaos. Of course, creative processes are never absolutely linear, they are never the same. Take, for example, someone who makes a product on an assembly line. This activity would generally not be described as creative, as it always requires the same steps to complete the product. The better this person masters his handles, the more efficiently the product will be finished. You may be wondering what one has to do with the other, but look at it this way: While the person is working effectively on the assembly line and can look at the finished product at the end of the process, the music producer who convinces himself that he&#039;s not creative right now won&#039;t finish a song. And this is exactly where the music producer should start the actual work: the structured creation of inspiration. You&#039;re wondering how to be structured in a creative activity? 
 Go in front of your DAW, listen to the latest tracks or music styles you&#039;re not familiar with. Try different drum patterns or samples or play with the parameters of your synth. Make a remix of a track, maybe you&#039;ll be surprised what ideas you come up with. Be creative! The possibilities are endless, the only important thing is that you try to make the most of them and build a creative space for yourself. There will be times when inspiration will fly towards you, in the others you will have to actively create your own inspiration. And this only works if you create a creative space in which you can quickly find your way around. 
   
 Tips &amp;amp; Tricks 
 As with most things in music production, there is no magic recipe. However, I&#039;d like to give you a few final tips that can improve your approach to the big field of music production. 
 1. Increase the overview of your project using folders for similar instruments, for example drums, bass, synths, vocals, effects. 
 2. Recreating sounds of your favorite tracks give you a good feeling for creating your own sounds. 
 3. Feedback from different listeners just helps you as a beginner in music production. Be open to criticism. 
 4. Don’t confuse yourself by using different plugins every time. Stick to one and learn it inside out. 
 5. Always arrange the tracks in the same way in your DAW projects, so you&#039;ll always find your way around quickly. 
 As always, have fun trying it out! 
                ]]>
            </content>

                            <updated>2019-08-22T00:00:00+02:00</updated>
                    </entry>

    
    
        <entry>
            <title type="text">Vocals recording - How to equalize, compress and process </title>
            <id>https://www.studiotemplates.com/blog/vocals-recording-how-to-equalize-compress-and-process</id>
            <link href="https://www.studiotemplates.com/blog/vocals-recording-how-to-equalize-compress-and-process"/>
            <summary type="html">
                <![CDATA[
                
                                            Most listeners will pay the greatest attention to vocals when listening to a song for the first time. In contrast to many other instruments, vocals are rather demanding to mix. So how do you make your vocals sound as good as possible before you release your music? In a few ste...
                                        ]]>
            </summary>
            <content type="html">
                <![CDATA[
                 Introduction 
 Vocals are one of the main components of most songs in modern music. Most listeners will pay the greatest attention to vocals when listening to a song for the first time. Imagine you&#039;ve just finished a recording session, edited the tracks and are now getting ready to mix them in order to make them sound good and integrate them optimally into the mix. 
 In contrast to many other instruments, vocals are rather demanding to mix. So how do you make your vocals sound as good as possible before you release your music? That&#039;s what this article will be about. In a few steps, I&#039;ll show you how to handle your recorded vocal tracks to get the best possible results with the typical tools like equalizer, compressor,&amp;nbsp;as well as room effects like delay and reverb, and give you some tips on how to use your vocal tracks. 
 Decide how your vocals should sound 
 Before you start mixing the vocals, you should determine what you are going for. A common mistake with mixing is to just follow some tutorials without knowing if you want exactly that sound. You should always mix towards a certain goal. If you add certain elements to the signal chain, you should have a specific sound in mind. In this way, every decision you make is more accurate and brings you closer to the sound you want. This is especially important with vocals because they are so different from genre to genre. 
 In rock and metal vocals are traditionally rougher and more powerful. They use more distortion and a slower attack in compression. In electronic and pop music, vocals are usually extremely consistent and exciting. Many effects and compression are used here. In folk and jazz the vocals are rather natural and often sound almost unedited. You will surely notice that every musical genre has specific characteristics of the optimal vocal sound. How do you decide what kind of vocal you want? Select a few tracks for reference and take their vocal sound as a guide. Once you&#039;ve decided on a particular vocal style, you&#039;re ready to start mixing. 
   
  Equalization I - Clean up your vocals:   First you have to bring raw order into the frequency spectrum of your vocals.  If you didn&#039;t record your vocal in an acoustically optimized room, there will most likely be disturbing resonances on the recording, which should be filtered out in the first step. To locate them, you can simply place an EQ plugin on your vocal track. Boost one of the bands with high gain after setting a narrow Q for that band. After that, slowly move the EQ band through the entire frequency spectrum. If certain frequencies are particularly loud and unpleasant, they are probably room resonances that should now be filtered out by lowering the band.  How much you filter out varies from resonance to resonance. In any case, it should no longer disturb the subjective sound impression. Focus mainly on the biggest problem areas. Note, however, that too many cuts with the EQ can cause phase shifts and comb filter effects if you&#039;re not careful. Over time, you will develop a sense of where the noisy areas are and to what extent you need to lower them. 
   
  Compression:   Vocals are very dynamic. They often change from soft to loud in a very short time. When you try to give consistency to a song, they tend to stand out. Accordingly, in the vast majority of cases you will use compression to control and limit the dynamics of the vocal. Think of your vocal track as having an extremely large dynamic range, and you need to use strong compression to tame the vocals. When a compressor is working particularly hard, it usually sounds mechanical and unnatural. You may have heard it before, it&#039;s sometimes called an &quot;over-compressed&quot; sound. But how can you counteract this if you need a lot of compression? The trick is called serial compression. With a few light compressors in a row, the vocal sounds controlled and natural at the same time. Serial compression uses a few mild compressors instead of a single powerful one. It doesn&#039;t sound as if it has been heavily compressed, even when the same amount of compression has been used. Let&#039;s take a look at how to create serial compression. Put a compressor on the track of your vocals. Then lower the threshold and increase the ratio to extreme settings. This allows you to hear the compressor clearly. Start at an average attack time of about 15ms and then adjust it to your taste. A fast attack (5ms) makes your vocals thicker and heavier. A slow attack (30ms) makes your vocals powerful and aggressive. Set an average release time of 40ms and change it as needed. Try feeding the compressor into the pulse of the music. If you have set an attack and release time, you can reduce the ratio to about 1.5:1 to 3:1. Adjust the threshold and ration so that the average gain reduction is about 2-3 dB. Increase your output gain until the track volume returns to the previous level. Finally, you need to duplicate the compressor plugin. Check the settings to make sure you get the same amount of gain reduction. If you want more gain reduction, simply duplicate the plugin again. Keep in mind that these settings may not work throughout the song. 
   
  Equalization II - Use another equalizer to shape the sound:   Of course, every voice sounds different and the EQ interventions depend on individual taste, musical style, other tracks and the overall mix, so there is no magic formula. Nevertheless, there are some characteristic ranges in the frequency spectrum that should not go unmentioned. We have already discussed how you can use an equalizer to bring order to your vocals in the first step. But an equalizer can do much more: let&#039;s see how you can bring the sound of your vocals into the desired direction. 
 In the range from about 1kHz a slight boost can provide additional presence, a reduction in the same range will soften the vocals. If your vocals sound too hard and harsh, a small reduction in the range of 2 - 4kHz will help. With a sweep you slowly go through this range to find the exact problem frequency. If you want a bit more clarity and brightness, carefully try a light boost with a hi-shelf filter from about 6kHz. 
 I suggest again that you be careful during these interventions. Your boosts and cuts should normally be between 2-3 dB and exceed 5 dB only if the mix absolutely requires it or you want to get a really nasty room frequency under control. 
  Reverb &amp;amp; Delay - Bring your vocals to life:   After the previous steps your vocals should already sound pretty good. But if you have recorded them in a booth or a dry room - which I recommend in any case - you will quickly notice that they will sound very dry and not very three-dimensional, in short - they sound flat. This starting point is perfect to turn to the effects that add the necessary spatial depth: reverb and delay. 
 After inserting your desired reverb plugin, set the signal to completely wet to make sure you only hear the signal with reverb. Then adjust your reverb to the tempo of the track respectively project. To do this, set the reverb time to 4 seconds and then slowly but surely adjust it down until it sounds good. The lower the reverb time, the easier it is to avoid a muddy mix. This normally results in a reverb time of less than 2 seconds. Your reverb should end before the next phrase. This means that the last reverb tail of a part should also end in that part and not in the beginning of the next part. This way you make sure that your vocals sound tight and not blurred. Once the reverb time is set, you can set the pre-delay. The pre-delay determines how long it takes for the reverb to start after the vocals have started. The Pre-Delay setting, so that the reverb does not make the beginning of the words muddy. Experiment with different pre-delay times to find out which one suits your song best. Normally, the range between 20-100 ms is fine. Now we&#039;ll focus on the distance of the reverb. This determines the distance between the listeners and the source of the vocal in the room. If you want your vocals to be as central and personal as possible, try a very low distance. Last but not least, you switch an EQ plugin in front of the reverb to control the sound of the room. The sound of your vocal reverb has a big influence on the sound of the actual vocals. Often you can use reverb to fix problems that you couldn&#039;t solve before while editing the vocals. For example, if your vocal is too dark, it&#039;s a good idea to cut out the lower center frequencies and boost the upper ones. This way you get a nice subtle shimmer without having to boost the top end of the vocal itself. It&#039;s also usually a good idea to cut out the lower frequencies of the reverb. This area is not very useful for vocals - it just rumbles the mix. Listen to the song as a loop and turn the reverb down completely. Then slowly bring it back up until you notice it. When you reach this point, turn it a little bit down again - usually you overestimate how loud the reverb should be. Basically, reverb and delay should not be heard, but felt. If they are obvious and very perceptible, the correct level is exceeded. The right level is reached when the vocal fells right in the context of the mix. 
 The procedure for using a delay is quite similar to reverb. Just like the reverb, the delay should be completely wet at the beginning. Separate the both stereo channels, because we want to change the delay times of both sides independently. Set one side to 50-200 ms and the other 20-50 ms behind it. The exact number depends on how obvious you want the effect to be. The longer the delay, the more obvious it becomes. Just turn the delay time up and then slowly down again until you feel the delay sounds right. Then set the feedback to 0-15% feedback. Normally the delay has no feedback, which means there is only one repetition. But a few additional delays make the effect sound more natural. Now you do the same thing as before with the reverb. Shape the sound with an EQ. But not in exactly the same way. Delays usually have filters in the lower and upper frequency ranges to match the delay to the vocal. I usually cut from about 300Hz up to a maximum of 3kHz. Trust your ears and cut only as much as necessary. Last but not least, you have to blend the delay in. The process is the same as for reverb. Turn the delay all the way down while playing the song as a loop. Then carefully turn it up until it feels right. 
   
 Tips &amp;amp; Tricks 
 As with almost everything in music production, there are no strict guidelines when processing vocals. However, I&#039;d like to give you some tips that can improve your approach. 
 1. The 200-500 Hz range is crucial for warmth and weight in vocals. Too little will sound thin and weak, but too much will sound muddy or congested. 
 2. Start when setting the compressor with an attack time of 6ms and a release time of 60ms for vocals. 
 3. For consistent vocal sound, combine compression with automation. 
 4. The 2 kHz range gives vocals and lead sounds edge and bite. Too little will sound soft and muted, but too much can be painful. 
 5. Using multiple compressors in a row (especially on vocals) can sound more musical and subtle. 
 6. In most cases you should not completely take out breath sounds, as they make your vocals sound real and lively. 
 7. Record your vocal tracks as dry as possible. Adding effects is easier than removing effects. 
 8. The use of lower Q-values when boosting produces a more natural sound. Cutting with a narrow band allows you to remove problem frequencies without making a track sound hollow. 
 9. A bit of distortion or saturation can make your vocals thicker and let them cut through the mix by adding harmonics. 
 10. Always keep in mind that the best editing, the best processing and the best mix cannot compensate for bad raw material. A good vocal track starts with a good recording. Choosing the right mic and arranging the best takes may cost you time and effort, but it&#039;s the only way to get a good result. 
 As always, have fun trying it out! 
                ]]>
            </content>

                            <updated>2019-07-22T00:00:00+02:00</updated>
                    </entry>

    
    
        <entry>
            <title type="text">Panning – Basic theory and practical application</title>
            <id>https://www.studiotemplates.com/blog/panning-basic-theory-and-practical-application</id>
            <link href="https://www.studiotemplates.com/blog/panning-basic-theory-and-practical-application"/>
            <summary type="html">
                <![CDATA[
                
                                            Another important topic in your music production is the stereo image of your track. Nobody likes muddy sound. We&#039;re all probably working towards a transparent sound where every detail can be heard in the room. But how do you ensure that every element in the mix finds its place...
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            </summary>
            <content type="html">
                <![CDATA[
                 Introduction 
 Another important topic in your music production is the stereo image of your track. Nobody likes muddy sound. We&#039;re all probably working towards a transparent sound where every detail can be heard in the room. But how do you ensure that every element in the mix finds its place and isn&#039;t masked by others? What&#039;s the difference between Balance and Pan? In the following article we&#039;ll look at how panning can clean up your production and take it to the next level. The basics will be clarified using the spatial division of common tracks in the mix and you will get some helpful tips and tricks for your audio production. 
 The following situation is familiar to most learning, but also experienced music producers: every single track of your music production has been carefully edited, levelled, and its frequency spectrum adjusted with the equalizer. But when you listen to the production you notice that it sounds muddy, some elements fight with others for their place in the mix and again others seem to disappear completely. How can that be? 
 If you haven&#039;t panned your tracks, they&#039;re all in the center of the sound field. And that could be the reason that your sounds can&#039;t find a place in the mix, because panning does the following: it distributes your audio signal in the stereo or multi-channel (surround) sound field. 
 Panning as a tool to control the stereo image 
 Let&#039;s clarify the function of panning by a common misconception. Often the term balance is used synonymously with pan, which is simply wrong. There is a fundamental difference here: You can usually find a balance control on your stereo system or other source with which you listen to music. With this knob you control how much audio signal is sent to each output. If you turn it completely to the left, the input signal is completely routed to the left output channel, regardless of the underlying stereo mix of the signal. If you turn it to the right, it will be sent the other way round to the right. Since the mix of the incoming material remains untouched, nothing is changed in the actual stereo field of the music. The Pan knob does something completely different: it actively determines the position of the selected input in the stereo field - again regardless of whether the balance knob is turned left, center, or right. With this knowledge in mind, we can now consider where to place some elementary components of most music productions in the stereo field. 
   
 Panning instruments in the mix 
  Bass Drum:   Start by positioning the bass drum in the centre. Low frequencies are less directional than higher frequencies and carry the most power in the mix. Therefore a very central position in the stereo field will most likely be correct for your bassdrum as well. 
  Bass:   You should also place the bass as centrally as possible at the beginning. The same applies to it as to the bass drum, with which it forms the foundation of your mix and represents an elementary component of the rhythm section. 
  Toms:   Because toms usually carry a lot of energy, they quickly distract and are perceived as annoying when placed far out on the sides of the stereo field. With an acoustic drumset, the toms are not too far from the centre. If you keep this in mind, you are moving one step further towards a natural sounding, good drum sound. However, if you want to use it as an effect, you can experiment with it and create impressive stereo effects. 
  Snare:   Start with a central position of the snare. If you want to create a little space for the vocals, you can also set them aside a little, but you should keep in mind that they have an elementary part in your rhythm section. 
  Hi-Hat:   As sounds in the higher frequency range, hi-hats do not carry much energy and are much less problematic in panning than, for example, toms or the bass drum. Depending on your taste and personal listening preferences, you can pan the hi-hat less or more outwards. In this way you create additional space, for example for the vocals or other elements you want to emphasize, without the hi-hat losing its presence. 
  Synths:   As with many components of your mix, the positioning of synthesizers is a matter of taste and depends, among other things, on whether the synthesizer plays an important or rather subordinate role in the production. You&#039;ll probably like a lead synth more centrally than on the sides, while an athmospheric pad creates extra width if it&#039;s more on the side. If you have panned generously in your mix, try filling in any possible gaps in the stereo field with the synth, you will be surprised at how the sound thickens. 
  Vocals:   The lead vocals belong as a central part of your production in the centre, because here they can assert themselves best. Backing vocals are a bit different, here you can experiment a bit. If they are far out you have a bigger stereo effect, but run the risk of losing the connection to the main vocals. If they are too central, the individual vocals can mask each other and the mix loses its width. You have to find a good average here. 
 Tips &amp;amp; Tricks 
 As with most things in music production, there is no magic recipe. However, I&#039;d like to give you some tips that can improve your control of the stereo field. 
 1. Regularly listen to your mix in mono to make sure that elements do not cancel each other out 
 2. Extend your stereo spectrum by panning backing instruments and drums left and right. 
 3. Create variety and get the listener&#039;s attention by panning an element panned to one side to the other side in the next part. 
 4. If you want to briefly highlight an instrument, create an automation that shifts the direction to the center of the stereo field. 
 5. Don&#039;t overdo it with the panning. If a track gets too wide, it can lose punch. 
 As always, have fun trying it out! 
                ]]>
            </content>

                            <updated>2019-05-21T00:00:00+02:00</updated>
                    </entry>

    
    
        <entry>
            <title type="text">Equalization - Basic theory and practical application</title>
            <id>https://www.studiotemplates.com/blog/equalization-basic-theory-and-practical-application</id>
            <link href="https://www.studiotemplates.com/blog/equalization-basic-theory-and-practical-application"/>
            <summary type="html">
                <![CDATA[
                
                                            Even far away from the sound studio, we encounter EQs in everyday life, for example in the home hi-fi system, in the car radio, or in the smartphone. In this article I&#039;ll introduce you to the two big equalizer types, the graphical EQ and the parametric EQ. Let&#039;s look at the mo...
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            </summary>
            <content type="html">
                <![CDATA[
                 Introduction 
 After having dealt with  dynamics and compression  in the last article, we now want to turn to another big topic in audio editing and production: equalization. Not only the bedroom or professional music producer knows about the term equalizer as a tool for audio editing in recording, mixing and mastering. Even far away from the sound studio, we encounter EQs in everyday life, for example in the home hi-fi system, in the car radio, or in the smartphone. In this article I&#039;ll introduce you to the two big equalizer types, the graphical EQ and the parametric EQ. Let&#039;s look at the most important parameters: frequency, gain and bandwith control (Q). I&#039;ll also introduce you to the different filter types and settings - peak EQ, high-pass, low-pass, high-shelf and low-shelf - and give you a few tips for your productions. 
 You probably know one of the following situations: you are recording a vocal or guitar part and the sound is muddy or rumbling. Or your hi-hat sample sounds too harsh in context and the bass drum has no bottom. These examples all have one thing in common: they refer to the frequency components of the audio signal. Each sound consists of different frequency components. 
 And these are influenced by the equalizer: it controls the composition of the frequencies of the sound and, depending on the version, can lower or raise certain frequencies in the entire frequency spectrum of the sound. In short: with an equalizer you control the frequency response of audio signals. 
                ]]>
            </content>

                            <updated>2018-12-04T00:00:00+01:00</updated>
                    </entry>

    
    
        <entry>
            <title type="text">Dynamics &amp; Compression</title>
            <id>https://www.studiotemplates.com/blog/dynamics-compression</id>
            <link href="https://www.studiotemplates.com/blog/dynamics-compression"/>
            <summary type="html">
                <![CDATA[
                
                                            In this article we are dedicated to the fabled theme of compression. You may not know every peculiarity of a particular compressor plug-in or a hardware compressor at first glance. However, attentive reading will help you to understand the application and basic operation of a ...
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            </summary>
            <content type="html">
                <![CDATA[
                 Introduction 
 In this article we are dedicated to the fabled theme of compression. You may not know every peculiarity of a particular compressor plug-in or a hardware compressor at first glance. However, attentive reading will help you to understand the application and basic operation of a compressor and its influence on dynamics. We show you the most common parameters of the compressor: threshold, ratio, attack, release, knee and output gain. In addition, we provide an overview of the various compressor variants, the tube compressor, the optical compressor, the VCA compressor and the FET compressor. 
 Imagine the following scenario: you are currently working on your song and you record a vocal track for it. The timing is right, the intonation is right, but there is one crucial thing that robs assertiveness: the volume difference within the vocal track. Naturally there are conscious and unconscious differences in the volume of a signal, in our example the voice. These differences are called dynamics, the area between the softest and loudest parts is called dynamic range. 
 And this is where the compressor comes in: it limits the dynamic range and adjusts the signal&#039;s variations to create a more consistent loudness. Compression can help you make your sound more assertive and add a nice coloration depending on the compressor. On the other hand, over-compressing can rob any dynamic and destroy your sound. So use it carefully! 
 The compressor as a tool to control the dynamics 
 Basically, today you can distinguish between two types of compressors, the hardware or outboard compressors and the computer-based software compressor plug-ins. The compression parameters are usually the same, so I&#039;ll explain the most common ones below. 
   
  Threshold:   The threshold setting adjusts the volume of the incoming signal (dB values are given) from which the compressor should make the signal quieter. If you turn down the threshold knob, the higher, louder part of the signal is adjusted down in volume. If you set the knob to the lower end of the minus range of the scale, the quietest parts of the signal will be even further reduced. 
  Ratio:   The ratio setting determines the proportion of which the incoming signal, which is above the set threshold value, should be lowered. Take for example a threshold at -30 dB, an incoming signal of -10 dB and a ratio of 2:1. The signal is thus 20 dB above the threshold and is processed in the ratio of 2:1 (20 dB:2 = 10 dB). So the compressed signal is 10 dB above the threshold, at -20 dB. This is a gentle form of compression, maintaining a certain dynamic range. Let&#039;s raise the ratio to 10:1 in our example. Now the 20 dB louder incoming signal, much more compressed, is only 2 dB above the threshold (20 dB:10 = 2 dB), therefore at -28 dB. We have significantly reduced the dynamic range of the signal. If you adjust the ratio to infinity (∞:1), the signal can not exceed the threshold value. This is the way a limiter works. 
  Attack &amp;amp; Release:   With these time-based settings you regulate when the incoming signal, which exceeds the threshold, starts to get compressed (attack time), and how long the signal is to be compressed until it returns to the uncompressed original signal (release/decay time). If the signal is to be compressed as quickly as possible, for example with vocals, set a short attack time. With such a setting, little time passes until the signal is completely compressed. But that does not always make sense. Especially with percussive instruments, a longer attack time usually sounds better. For example, if the attack time on the compressor of your snare or bass drum is set too short, it will have a negative impact on your transients, the first impulses of the signal. These are then trimmed unintentionally. The track will probably sound over-compressed. Here a longer attack time helps to maintain pressure and provides a more natural sound. The release time of the compressor can also have a lasting effect on the sound. If it is set too short, there will be a quick change between the compressed and the uncompressed signal. You will probably be able to hear the so-called &quot;pumping&quot; of the compressor. A slightly longer release time can help here. 
  Knee:   With the knee setting of your compressor, you can determine how your incoming signal should be processed by the compressor. You can often choose between hard knee and soft knee. In hard knee, the signal crossing the threshold is strictly compressed from the beginning in the set ratio. This setting is mostly used for percussive signals. With soft knee, the signal is already compressed slightly below the threshold. This allows a smoother transition into the actual compression. The ratio of the compression also increases gradually with the volume of the incoming signal until the full set ratio is reached. This rather gentle setting is especially popular with vocals, as it sounds natural when used properly and stays in the background. 
  Output Gain:   You use the compressor to achieve a more consistent, pleasant volume of your signal. So far, the steps in signal processing by the compressor have made your signal more consistent but overall quieter. With the output gain or make-up gain you can adjust the compressed signal to the desired volume. 
   
 Common Compression Types 
 As mentioned in the beginning, there are countless types of compressors. For some long time, some cults and myths have formed around some hardware compressors because they color the sound in a certain way or have special features. Let&#039;s take a quick look at the differences between the most common technologies. 
  Tube Compression:   The tube compressor is the veteran of compressors. Due to its design, it reacts relatively slowly, but is even more convincing due to its warmth, musicality and vintage effect. Classical tube compressor models are Universal Audio 1176 Compressor/Limiter 
   
  Optical Compression:   In optical compressors, the compression of the signal is controlled via an optical unit. The louder the incoming signal, the brighter a light unit shines. An optical transistor controls the amount of compression after detecting the light intensity. Slowly in the reaction he delivers a unique sound that can refine some track. Classical optical compressor models are Teletronix LA-2A,Tube-Tech CL 2A 
   
   VCA-Compression:   The VCA compressor is based on transistor technology. Here, the voltage of the incoming signal serves as the basis for sound processing. It reacts very fast and the common parameters can be adjusted exactly and without coloring effect, which makes it universally applicable. VCA-compressor models are DBX 160A, Universal Audio Neve 33609 
   
  FET-Compression:   The FET compressor combines the best of different worlds. The reliability, speed and usability of the transistor technology, coupled with emulation of a warm and coloring tube circuit. Classical FET-compressors are Universal Audio 1176LN, Drawmer 1973, Softube FET compressor 
   
 Tips &amp;amp; Tricks 
 As with most things in music production, there is no magic recipe. However, I&#039;d like to give you some tips that can improve your approach to the big field of compression. 
 1. Think before use, why exactly you want to use the compressor. Not every track automatically requires compression. 
 2. If you have decided to use a compressor, try to understand your track in advance to get used to the particular setting. 
 3. When in use, adjust the settings carefully to ensure that you are not over-compressing and your signal continues to sound natural. 
 4. Compare the compressed with the uncompressed track and hear what the compression is doing. Make sure that the output gain of the compressor is set correctly, as a louder signal always sounds better in doubt than a quieter one. 
 5. Today&#039;s compressor plugins of your DAW are doing great jobs, their applications are very diverse. Think about it and learn it inside out, before you buy any more. 
 6. To make your kick cut through the mix, keep the bass range free with a sidechain compressor. 
 7. Keep an eye on the needle of your compressor&#039;s VU meter. If it moves with the music, the correct attack and release setting is probably already close. 
 8. Low frequencies carry a lot more power than high frequencies. They’re a lot harder for a compressor to work with, so apply subtractive EQ before compression. 
 9. Using multiple compressors in a row (especially on vocals) can sound more musical and subtle. 
 10. For consistent vocal sound, combine compression with automation. 
 As always, have fun trying it out! 
                ]]>
            </content>

                            <updated>2018-11-24T00:00:00+01:00</updated>
                    </entry>

    
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