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To mark the release of twelve new Jensen IR libraries for Overloud’s TH-U, we sat down with Jensen’s Ignazio Vagnone for more questions! Ignazio worked in collaboration with the team at Overloud to develop these excellent libraries. He used his expertise in recording and speaker technology, along with a strong historical perspective to build IRs that reflect the fantastic heritage and ongoing prestige of the Jensen sound.
In this blog post, guitarist Taylor Danley explores Overloud TH-U’s Rig Player. He explains how it can be used to quickly find new mix-ready tones, and then dialed in with intuitive controls to elevate your session’s sound.
One of the best parts about using Software amps is that you have the freedom to completely customize your rig. In this blog we will walk you through understanding a wet/dry rig is, why you want to incorporate it into your arsenal of tones, and how to best execute it in Overloud TH-U .
Taking inspiration from a reference track is an entirely deep topic, but Ad Composer Max Schad breaks this process into four tips that are easily digestable for any career musician, and shares secret tools that make the job easier!
“It should feel like 'x' but not too much like 'x'.” Navigating the world of commercial ad scoring is more cerebral than you might think. Ad-composer Max Schad (Butter Music & Sound) offers 5 simple tips to "Squeeze" everything you can out of vague directions and reference tracks in order to breath life into your compositions.
The arpeggiator is just one of the many new synthesis features included in the free Trilian 1.5 update from Spectrasonics. These updates bring Trilian even closer to Omnisphere functionality and open up many exciting new ways of sequencing Trilian's bass guitars and synths. In this article, I'll be breaking down each new arpeggiator feature in detail, offering tips and tricks along the way.
If you're familiar with The Vienna Symphonic Library, you've probably seen Andreas Olszewski's name on various audio demos and scores. An extremely talented and accomplished composer, he's also the genius behind most things notation related with VSL, i.e., programing the Sibelius presets for VSL instruments. Another name you may recognize is Joe Ierardi, the co-founder of Synthogy, the creators of Ivory II. A few years ago, the two men's worlds collided as Olszewski and virtuosic pianist Volker Rogall set out to realize Rachmaninoff's Third Piano Concerto virtually using both VSL instruments and Synthogy's Ivory virtual pianos.
Sound Lock is a simple feature that allows you to keep specific parameters of a patch and apply those same parameters to new patches. For example, let's say you like the FX section, Arpeggiator pattern, and the Modulation Matrix of a certain patch. Using Sound Lock, you can freeze all three and apply them to new sounds as you select them in the Patch Browser, all but guaranteeing you'll end up with an original sound with every click.
An entire weeks worth of material covering synthesis and sonics - guided by the one and only Michael (MIDIhead) Babbitt. 7 Days of Sound Design explores different sound design techniques and tricks with seven individual videos. Each video focuses on different patches and the sound design concepts used to create them—from basic envelope control to layering complementary sounds, to advanced modulation techniques, all while utilizing Spectrasonics' powerful synthesizer Omnisphere 2. Whether you're a beginner or an experienced artisan, you're bound to learn something new in just a few minutes a day.