IK Multimedia introduces MixBox virtual channel strip plug-in – Page 9 – Gearspace.com

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Looking forward to getting Mason and Parsons on Kontakt.

But, what’s cool about our script is that each kit piece is an instrument that has its own submix for dialing in the blend you want between the directs, overheads, under snare mic, rooms etc. and THEN you have an overall mix (like you would normally in a multitrack drum session). You don’t HAVE to adjust the submix but it’s cool that you can. Might as well take advantage of the flexibility to say have more snare rattle sound on the snare but less snare rattle resonance bleed on the kick and toms for example and things like that… plus, because it’s Kontakt and not dedicated drum kit software it has envelopers and filters. You can get a nice dampening or extra snap out of that if you want which is different than doing that with effects processors like compressors or eqs.

Then, after all of that on the clean natural minimally processed sound source, you run those individual outs into MIXBOX, T-RACKS or really anything you’ve got in the effect plug-in world. In my videos I’ll show lots of examples not just with IK plug-ins but a variety of others too. The Hugh Padgham Drums for Kontakt works nicely with that Korneff Listen Mic Compressor (forget what they call it but it’s a model of the SSL LMC). Although, since there are more layers in this format sometimes we DO include a “smash channel” and for the Hugh Kontakt version you get the UNPROCESSED Ball & Biscuit mic in the stone room at Genesis’ studio which you can put through the Korneff LMC or T-RackS Black 76 or whatever you want AND you have it smashed through the real analog SSL board’s LMC like he did with Phil Collins, Peter Gabriel and Genesis back in the day.

It’s pretty detailed and to me these are the definitive versions taking advantage of all the channels and drum hits (because I do an expanded map of drum hits compared to most which I’ll explain too). Then, of course, I’ll use MIXBOX as the default go to effects since it just has a nice variety of your meat and potatoes models of Neve, SSL, 1176 etc for anyone to a quick taste of what it’s like to process mic channels of a drum kit… and then the expert plug-in users and gear slutz (like me, yes I am one of them. I’ve got a TON of plug-ins too) can really have fun hearing those fx in action on interesting sound sources like these. I’ll also get into detail on what mics each engineer used, the consoles/channel strips and all the audionerdy details I can manage as well. Now that I think about it, Gearslutz is probably the right place for that to be appreciated!

You see, this effort is a bit esoteric and high end. Most people would rather just get a drum plug-in that looks like a drum kit with kit pieces you can move around. I know that. Superior, BFD, Modo Drums… and that’s cool. But, if you’re into specific character audio recordings of iconic artists that you can control from a midi keyboard, even if it’ll never be as popular as these other drum plug-ins, I’m going offer it. The main reason is because that’s what I would want to use and already do.

Anyway… a separate subject for another thread. I’ll post something and also give away some things for everyone to play around with too such as some multitrack loops from Nick Mason, Alan Parsons, Hugh Padgham, Ken Scott, Neil Peart and others. In fact, that could be a fun way to demo the free presets I’m going to do for MIXBOX that coincide with the drum kits. And if you like the sound of either MIXBOX and/or the drum kits you can go buy them. It’s rare you get actual SOUNDS to try but I think some multitrack loops are ok to give away. I’ll let you guys know.

One thing I’m finally going to do in greater detail is explain on video what the advantages are to the way we did these kits in Kontakt for years even going back to when we did Ocean Way Drums with Allen Sides. We use a third generation script still, I’m debating whether to tweak it for “eye candy knobs” or not to bother because really… I’m sorry but I DO agree that the most important aspect is the SOUND and what you can actually DO to the sound. As much as I love fancy GUIs, I must admit that when I’m engineering I just want to get down to it and the art of the graphics isn’t nearly as important. So, the new kits might just have the same generic NI Kontakt knobs. I’m still deciding on that part.But, what’s cool about our script is that each kit piece is an instrument that has its own submix for dialing in the blend you want between the directs, overheads, under snare mic, rooms etc. and THEN you have an overall mix (like you would normally in a multitrack drum session). You don’t HAVE to adjust the submix but it’s cool that you can. Might as well take advantage of the flexibility to say have more snare rattle sound on the snare but less snare rattle resonance bleed on the kick and toms for example and things like that… plus, because it’s Kontakt and not dedicated drum kit software it has envelopers and filters. You can get a nice dampening or extra snap out of that if you want which is different than doing that with effects processors like compressors or eqs.Then, after all of that on the clean natural minimally processed sound source, you run those individual outs into MIXBOX, T-RACKS or really anything you’ve got in the effect plug-in world. In my videos I’ll show lots of examples not just with IK plug-ins but a variety of others too. The Hugh Padgham Drums for Kontakt works nicely with that Korneff Listen Mic Compressor (forget what they call it but it’s a model of the SSL LMC). Although, since there are more layers in this format sometimes we DO include a “smash channel” and for the Hugh Kontakt version you get the UNPROCESSED Ball & Biscuit mic in the stone room at Genesis’ studio which you can put through the Korneff LMC or T-RackS Black 76 or whatever you want AND you have it smashed through the real analog SSL board’s LMC like he did with Phil Collins, Peter Gabriel and Genesis back in the day.It’s pretty detailed and to me these are the definitive versions taking advantage of all the channels and drum hits (because I do an expanded map of drum hits compared to most which I’ll explain too). Then, of course, I’ll use MIXBOX as the default go to effects since it just has a nice variety of your meat and potatoes models of Neve, SSL, 1176 etc for anyone to a quick taste of what it’s like to process mic channels of a drum kit… and then the expert plug-in users and gear slutz (like me, yes I am one of them. I’ve got a TON of plug-ins too) can really have fun hearing those fx in action on interesting sound sources like these. I’ll also get into detail on what mics each engineer used, the consoles/channel strips and all the audionerdy details I can manage as well. Now that I think about it, Gearslutz is probably the right place for that to be appreciated!You see, this effort is a bit esoteric and high end. Most people would rather just get a drum plug-in that looks like a drum kit with kit pieces you can move around. I know that. Superior, BFD, Modo Drums… and that’s cool. But, if you’re into specific character audio recordings of iconic artists that you can control from a midi keyboard, even if it’ll never be as popular as these other drum plug-ins, I’m going offer it. The main reason is because that’s what I would want to use and already do.Anyway… a separate subject for another thread. I’ll post something and also give away some things for everyone to play around with too such as some multitrack loops from Nick Mason, Alan Parsons, Hugh Padgham, Ken Scott, Neil Peart and others. In fact, that could be a fun way to demo the free presets I’m going to do for MIXBOX that coincide with the drum kits. And if you like the sound of either MIXBOX and/or the drum kits you can go buy them. It’s rare you get actual SOUNDS to try but I think some multitrack loops are ok to give away. I’ll let you guys know.