Number 1 records with Charice (WB), Cheryl Cole (X Factor UK / Polydor), Santana
(Arista), Josh Groban (WB), recent Number 1 singles with X Factor Australia (SyCo/Sony),
The Voice of Holland (Talpa) and many other hit records with domestic and overseas
artists. Full Wikipedia wikipedia.org/wiki/Klaus_D
Go-to plugins:
SSL 4000 Collection, Tony Maserati Artist Signature Collection
Tech Tip:
“For optimum side chain effects on synths, the Waves API 2500
compressor works better than any other. Send a kick into the side chain and play
with the attack and ratio buttons until you get the desired effect. Caution: if
you hit the compressor too hard, it will cause 'pops' in the signal, so you need
to dial it all in very carefully. But once you get the right setting, those synths
will dance in the track.”
Devon Kirkpatrick
Baton Rouge, LA
Devon Kirkpatrick is a 1994 valedictorian graduate of Full Sail. After graduation,
he worked for Cunard Cruise Lines as a stage manager. In 1996, Devon moved to NYC
where he began interning at Unique Recording Studios. After a few weeks of interning,
he started assisting and soon began work as a staff engineer. Wanting more out of
NYC, Devon began work at Sony Music Studios in 1997 and was a staff assistant and
senior Pro Tools Engineer until 1999. In 1999, he moved back to his home town of
Baton Rouge, LA where he started his own studio, Sockit Studio.
Go-to plugins:
H-Comp, V-EQ4, Renaissance
Vox, Renaissance Bass
Tech Tip:
“Using the automation features of Waves plugins to alter settings
in real time, and using Vocal Rider to make initial static passes for vocal automation.”
Carlton has worked with an amazing array of artists, producers, and writers in his
15-plus years as an engineer/mixer. Well-versed in old school technology (he can
still align a Studer) as well modern recording techniques, he honed his craft working
at Dallas Austin’s studio in the 1990s. There he was introduced to the world of
hip hop, R&B and pop production, ultimately earning a GRAMMY® as an engineer
on 1999’s Best R&B Album, TLC’s Fan Mail. Recently, he has provided mixing and recording
services for Fantasia, Lloyd, India Arie and Atlanta indie label, Reach Records.
Go-to plugins:
IR-1, S1 Stereo Imager,
H-Comp
Tech Tip:
“The Mix knob on H-Comp is extremely useful for many things. You
can create excitement on a drum subgroup by inserting H-Comp (with a healthy compression
setting) and adjusting the mix to control your ratio of “fuzzy pumping” to original
signal. With vocals, you can bring out some vibe by dialing in hard compression
and then sneak some of the natural sound back in by varying the mix.”
Bill Leverty
USA
Born in Richmond, VA, Leverty began playing guitar at the age of 15 and began recording
at the age of 20. His demos attracted the ears of Jon Bon Jovi and later, Michael
Caplan, VP of Epic Records. Leverty and his band, FireHouse, ultimately signed with
Epic Records and won the American Music Award for Best New Hard Rock/Heavy Metal
Band in 1991. FireHouse has sold over 6 million units worldwide. As a producer,
Leverty has had Gold sales in 5 countries. He continues to record and tour today
with FireHouse and as a solo artist. He also works as a producer, engineer, mix
engineer and mastering engineer for other artists around the world.
Go-to plugins:
SSL 4000 Collection, CLA Classic Compressors,
V-Comp, H-Comp, C1 Comp/Gate, H-Delay,
DeEsser, L1, V-EQ4,
Renaissance Verb, Maxx Bass
Tech Tip:
“To make background vocals have a bright but smooth and airy sound,
I will send them to a pre fader bus, roll off everything below about 2.5K (I usually
use a Renaissance EQ 2 for this, set just as an HPF with a very steep slope), then
I'll add an SSL Channel with the compressor set at 20:1 (fast attack), and set the
EQ for 9-12 dB of 12K shelving. Then, I'll bring that fader in lightly in parallel
to add that ‘aural exciter’ sound, a la Dr. Mutt. Here's one more: To help with
acoustic guitar squeak, I'll find the offending frequency using Waves PAZ, and set
my Waves DeEsser to that frequency. I add my EQ next. This tames the unwanted string
noise but doesn't darken the overall tone.”
“I am a metalhead and a sound guy. I have worked at various Finnish venues and tours
as a live sound engineer over the past 10 years. I interned at Finnvox Studios as
a studio assistant and worked at Harju studio as a recording engineer. I make audio
production-related tutorial videos on my YouTube channel. I have a Bachelors Degree
in Digital Sound and Commercial Music from Tampere University of Applied Sciences,
and am currently studying for a Masters Degree in Music, Mind and Technology at
University of Jyvaskyla.”
Go-to plugins:
Q10, H-Delay, Renaissance
Vox, CLA-76, C4, Kramer Master
Tape, L1,
PAZ
Tech Tip:
“If you put C1-sc to split-mode, it works as a dynamic one band
EQ.”
Rob Coates is a Nashville-based mix engineer, mastering engineer, and producer.
He is a member of the National Academy of Recording Arts & Sciences, in which he
is a voting GRAMMY® participant. With over 17 years in the industry, Rob has
worked alongside some of the biggest producers, engineers, artists, and songwriters
in the music industry. Rob has also collaborated with producers and songwriters
who have collectively sold over 150 million records worldwide. While collaborating
with these producers and other music industry legends, Rob has been exposed to what
it takes to make a hit record.
Go-to plugins:
CLA-2A, MV2, DeEsser,
Kramer PIE Compressor, SSL G-Master Buss Compressor,
Linear Phase Equalizer, V-Comp,
V-EQ4, Vocal Rider, SuperTap
PAZ, H-Delay, SSL E-Channel,
Waves Tune LT
Tech Tip:
“Clean it up – Most of the time when I receive a song to mix for
bands, the engineer does not take the time to properly prep the session for a mix.
I have even received tracks from pro engineers that present the song in simply a
mess. My general theory is the cleaner and more organized the recording session
is, the better the mix. Label your tracks properly. Only put in the timeline what
you want in the song, unless you specifically state you have alternate playlists
for the mixer to choose from. Clean out all pops, clicks, talking, dead space, and
apply fades. Then re-consolidate.”
Michael Hodge
Houston, TX
Michael is an award-winning studio musician, engineer and producer in the CCM and
Gospel Market in USA and Latin America. He currently plays guitar for the largest
church in America, Lakewood Church in Houston, Texas. He has toured extensively
across Europe, Africa and Asia with his wife Carrie McDowell Hodge. He’s a sought-after
conference clinician and regular contributor to Christian Musician and Worship Musician
magazines. A longtime Waves fan and user, Michael still has his original floppy
disks from Version 2.1!
Go-to plugins:
Vocals: V-EQ4, Vocal Rider, H-Comp,
CLA Effects
Drums: V-EQ4, H-Comp, Audio Track,
S1 Stereo Imager, Center, Kramer Master
Tape
Bass: V-EQ4, MaxxBass, Renaissance
Compressor
Guitars: V-EQ4, Maserati ACG, Kramer
Master Tape
Keys: V-EQ4, H-Comp, H-Delay,
S1 Stereo Imager
Tech Tip:
“I always use Renaissance Compressor on bass with the kick feeding
the side chain. This way I can keep the kick snap out front without fighting with
the bass attack. For BGVs, I love the combo of the H-Delay into S1 into the Kramer
Master Tape. That’s coming back on a stereo aux track from a stereo send with a
little low and high end shaved off.”
Czar was born in Nashville, but got his musical roots while being raised in Memphis.
He worked for a few studios there as well as owning his own called the Kremlin.
In 2000, Czar founded Throneholder Productions, a production company for hip-hop,
R&B, and pop music. Czar later returned to Nashville to pursue a BA in audio production
from the Art Institute of Tennessee Nashville, which he received with honors. When
he's not in the studio engineering or in the Kremlin mixing, Czar spends his time
researching gear, blogging about audio, writing gear reviews, and posting helpful
videos.
Go-to plugins:
Renaissance Compressor, Renaissance EQ, Renaissance
Vox, Center, S1 Stereo Imager,
SSL 4000 Collection
Tech Tip:
“A lot of people don't realize that the Renaissance EQ goes to
16 Hz. And the default slope is steep. All my mixes have the Renaissance EQ with
a high pass filter set to 16 Hz. You can't hear that low but that doesn't mean there
isn't infrasonic rumble down there, so to be safe I always cut it out. On the high
end if you set the Renaissance EQ to shelf, the more you boost, the more of a dip
you get at the bottom of the shelf. Placing this dip on some high end harshness
can help tame it a little while still adding high end to the track.”
Steve Sola (also known as “The Mix-King”) is an award-winning American record producer,
audio and mixing engineer, songwriter and musician, based in New York City. With
a career spanning over two decades, he has worked with many major artists, including
Mobb Deep, Nas, Lil Wayne, LL Cool J, Jadakiss, Ron Isley, 50 Cent, Puffy and others.
He co-wrote the leading track, "Struggle No More," for the Tyler Perry film Daddy's
Little Girls. Over 20 million albums sold contain either production, engineering,
writing or performing work undertaken by Sola. He has earned over 18 Gold, Platinum
and multi-Platinum RIAA Awards. Currently, he is also the CEO of Plain Truth Entertainment,
his recording studio and label.
Go-to plugins:
L1, L3-LL Multimaximizer,
Doubler, Renaissance Reverb,
DeEsser
Tech Tip:
“Hold Control + Option + Apple keys and left-click desired parameter
to enable automation for that particular parameter. (10 times quicker than searching
which parameter you need in the plug in automation window.)”
The last year for Alyx George (Ana, Veya) has been a busy one with recognition from
DJs worldwide. His debut EP on Whartone, “Apollo” produced with Jon Kong and Chris
Aidy, was supported by none other than Tiesto on his radio show, his Cream Amnesia
Residency and national radio stations. 2011 saw Alyx DJ across the country showcasing
his range of music alongside Roger Sanchez, Benni Bennasi and Michael Woods. P5
Audio was also quick to spot his talent as a sound designer and have recently hired
him to produce a multitude of sample packs and presets for a wide genre of music
and industry-leading plugins. He is also co-owner, with Sam Joiner, of Vertical
Lift Records.
Go-to plugins:
H-EQ, IR-L, Renaissance Axx,
CLA Classic Compressors, PuigTec EQP-1A, Center
Tech Tip:
“Having problems with a massive lead sound or bass sound and want
more control over it? Open Waves Center on the audio channel and bring down the
sides fader to zero, thus giving you just a mono signal path. Bounce that track
in place (in Logic) leaving the original track, or 'Flatten' it in Ableton. On the
original track again, use Center but leave the sides fader up and bring the center
down to zero. Again bounce in place. You now have two separate audio files, the
mono part and the side part, just like a M/S recording. This gives you endless possibilities
with regard to EQ, compression, effects and controlling the audio in a mix. Plus,
you can layer the audio over the original file.”
Genji Siraisi
NYC
Genji Siraisi is a producer, composer, drummer and founding member of the NYC band
Groove Collective, whose People People Music Music was nominated for a GRAMMY®
for Best Contemporary Jazz Album. He composes and produces music for projects ranging
from national ads to feature and independent films, and also releases electronic
music as a solo artist. Genji has produced records for Warner, Universal, Savoy
and Giant Step among others, and has worked with Gary Katz (Steely Dan), Bob Power
(The Roots) and has played drums for Tupac, Natalie Merchant, Pharaoh Sanders and
Curtis Mayfield (to name some musical extremes).
Go-to plugins:
L3-LL Ultramaximizer, Linear Phase Multiband, Doubler, C1,
C4, Renaissance Bass,
Renaissance Axx, MaxxBass,
Enigma
Tech Tip:
“Renaissance Bass to add some "womp" to sterile drum tracks, Doubler
as a subtle small room ambience with minimal mud.”
Charles Maynes
Burbank, California
Charles Maynes, sound designer, editor and sound recordist for feature film, television
and video games, has over 17 years experience in audio post production. He has been
a Waves user since 1993, and works principally with Pro Tools. His credits include
such Academy Award winning films as U571 and Letters from Iwo Jima, and has
two Emmy awards for the HBO miniseries The Pacific and the History Channel program
Gettysburg. He is currently working on the film Total Recall with
Academy Award winning supervising sound editor Stephen Hunter Flick.
Go-to plugins:
C1, C4, MondoMod,
Renaissance Bass, UM226
Tech Tip:
“I use C4 for multiband expansion on a very regular basis when
doing sound effects mastering and design. It is almost always the first plugin choice
for tonal shaping, and I use it as a dynamic EQ with great regularity.”
Denny Jagard
Boise, Idaho
Touring live sound engineer for artists such as Prince, Jimmy Eat World, AFI and
Skylar Grey. Background includes running a regional audio company, mixing corporate/industrial
events and being a lead singer/guitarist in a touring punk band. Favorite audio
tool is a portable MultiRack system for virtual sound checks, to tweak mixes as
well as tune venues.
Go-to plugins:
C6, C1, H-Comp,
H-Delay, Renaissance Bass, L1,
Q10
Tech Tip:
“I like using a dynamic EQ filter in C6 side-chained from the
vocal group as a music/guitar narrow band ducker to make space for vocals.”
Nicholas Radina
Cincinnati, OH
Freelance live audio engineer and musician based in Cincinnati, OH. Touring
musician and sound engineer with the group Over The Rhine. House sound engineer
at Cincinnati’s historic 20th Century Theater. Production manager and lead sound
engineer for City of Cincinnati Parks Department. As a musician, Nicholas performs
with several Latin bands playing percussion, guitar and the ten-string Puerto Rican
Cuatro.
Go-to plugins:
C4,
C6,
Renaissance Compressor, Renaissance EQ
Tech Tip:
“I'm using MultiRack Native on a MacBook with a Firewire interface.
The interface has analog, ADAT and SPDIF I/Os. This gives me the ability to use
my workflow, regardless of console I come across (analog or digital). I always use
group/bus processing: drum bus, guitar bus, vocal bus, etc. I insert MultiRack on
these groups. I also assign all channels to a stereo group/bus that serves as an
Out if I have an issue with my laptop or interface. Taking a step further with the
group/bus processing adventure, you can use MultiRack’s Group Processing feature
to actually time align backline to the PA – using latency to your advantage! If
you use the same string of plugins for each bus rack (or equal plugin latency),
you can manually adjust each rack (bus/groups) in feet, milliseconds and so on –
especially great for drums in a smaller venue!”
Matt Broadstreet
Inland Northwest / Washington State
I have experience starting with garage bands over two decades ago to modern electronic
production today, from audio for TV and video to more personal material for the
dancefloor to downtempo and ambient or sound design. For the commercial work, I
often do anything from a custom mix of existing material to fit the timing of a
video piece and add cues and effects to 'camera audio' cleanup and fast Foley effects
work. Waves sees use across the board, whether it's just light touches with the
Q10 for cuts to fully modeled plugins where it counts.
Go-to plugins:
Waves Modeling series especially on bussing
& master/output(s)
Tech Tip:
“For noise cleanup, stacking two instances of X-Noise or Z-Noise
with moderate settings can be better than one extreme.”
Aaron R. Reppert
Bay Area, CA & Nashville, TN
Aaron Reppert graduated from San Francisco State University’s Multimedia Studies
Program in 2002 with a degree in Digital Design and Production. He entered the audio
industry professionally in 2003, founding TravSonic Studios in the San Francisco
Bay Area, which later evolved into a full media production company. Over his career,
he has headed projects for corporations, managed projects for major labels, and
volunteered for non-profit audio organizations. In 2008, he recorded the final concert
of the band El Chicano with all its original founding members. Reppert is now expanding
his company, building a recording studio in Nashville, scheduled to open in 2013.
Go-to plugins:
L1, API 550B, H-Comp,
C4, SSL Compressor, SSL
Channel, S1 Stereo Imager,
MetaFlanger
Tech Tip:
"Don't look or think about settings! Close your eyes and use your
ears. Music is about feeling and emotion. Become the music."
Phil Manchester®, director and owner of Aperio Audio® has completed in
excess of 750 major criminal investigations involving audio restoration, surrounding
national security, counter terrorism, murder, kidnap, international drug importation,
anti-corruption and all other serious criminal offences. When Waves CEO Gilad Keren
heard that Phil Manchester® used Waves plugins in his work as a covert audio
specialist, he was amazed; Keren had been unaware that Waves software was having
an impact outside of the music, broadcast and film industries. He subsequently expressed
an interest in developing a professional collaboration with Manchester, to design
and offer high level restoration capabilities to all industries.
Go-to plugins:
Forensics Package,
WNS Noise Suppressor
Tech Tip:
“Multiple instances of WNS and Q10. (The rest is classified.)”
Adam is a freelance recording and mixing engineer based at Arcadium Studios in Notting
Hill, London. Learning his trade at Alchemea College whilst simultaneously maintaining
a highly competitive position as a runner and assistant at the mighty Metropolis
Studios, Adam picked up his skills from some of the very best engineers in the world.
Having worked with everyone from international chart-topping singers to seasoned
Prog Rock veterans, Adam is well equipped to work on every type of project.
Go-to plugins:
Kramer Master Tape, API 2500, API 550A/B,
H-Delay
Tech Tip:
“Subtle distortion or bit crushing on the right sources can impact
a sound dramatically and help it sit better in the mix.”
Currently based in New York City, Ryan Kelly is a recording engineer who brings
a unique approach to album production. Starting out in Seattle and since working
at studios across the US, Europe and South America he has worked with artists from
every continent and most genres. Coming up through Right Track/Legacy Studios in
Manhattan, Ryan has worked with some of the greatest producers and artists at one
of New York’s premier recording studios, and has always sought to bring those levels
of quality and efficiency to every artist he works with.
Go-to plugins:
CLA-76, Kramer Master Tape,
C4, MV2
Tech Tip:
“CLA-76 > CLA-2A > MV2 for smoothing out vocals.”
Stephen Kelly
Dublin, Ireland
Stephen Kelly is a Dublin-based musician, producer and audio engineer. His love
of the guitar resulted in experimentation with recording software and MIDI sequencing
at an early age. This led to Stephen attending the National University of Ireland,
Maynooth and receiving a BA in Music Technology and MA in Computer Music. After
graduating, Stephen founded his own music production company and saw his work featured
on radio and television commercials. Currently working at Gorilla Post Production,
his focus has been on creative sound design and music production for broadcast and
animation clients.
Go-to plugins:
Renaissance EQ, Renaissance Compressor,
L2
Tech Tip:
“If you find that the voiceover or dialogue in your project is
not blending well with the music underneath, try cutting the music with the Renaissance
EQ somewhere around 2-3 kHz with a narrow Q. The exact sweet spot will depend on
both the voice and track used. This subtle use of processing can create a ‘hole’
in which the voiceover or dialogue will fit better.”
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