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- #Slate digital plugins parameters changing on their own software#
- #Slate digital plugins parameters changing on their own plus#
#Slate digital plugins parameters changing on their own software#
I found myself thinking, “I want to change THIS…,” and simply clicking on the name of any channel, source or destination and making it happen without trying to think like a software engineer.
#Slate digital plugins parameters changing on their own plus#
Plus it’s jet black, which is really nice after staring at brushed aluminum for so many years! Using the new Ensemble is very intuitive. I really like this updated interface! The Control software is eons ahead of the old Maestro software, and the hardware unit provides a lot more control right from the face plate, not to mention offering a total of 30 inputs compared to the old model’s 18. The technology between the two Ensemble designs represents about a decade of innovation. This was my second session ever using the Apogee Ensemble Thunderbolt (which replaced our well-loved and utterly spent Ensemble Firewire after many years of service). The first significant change was pretty simple: a brand new audio interface. We planned to get two good takes of everything and stack them so our 13 players would sound like 26. There were also five woodwinds: flute, clarinet 1 & 2, and sax 1 & 2. These folks travelled from Memphis, Texas, and beyond to be with us. We had eight brass players: tuba, euphonium, trombone 1 & 2, trumpet 1, 2, & 3, and mellophone. The thirteen wind players were also a consistent element. I have enjoyed the soundstage environment for everything from Americana sessions to classical performances. There are several other recital halls, theaters, and auditoriums, but Lovett is by far the largest. It didn’t take me long to realize that this hall was probably the best location for recording a wide variety of projects. One of the very first recordings I made at Murray State was on this stage: a violin and piano concert. It’s a big, wonderful hall built in 1926 with a basketball court-sized stage, several rows of heavy theater curtains, and 2000 seats for the audience. We’ve always used Lovett Auditorium on Murray State’s campus for recording high-priority sessions.
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But with plenty of down days to set up for latest session (a luxury not always available) I decided to try a few new tricks. For me, FMP recording sessions have become almost routine. John has a thriving business selling marching band arrangements to high-schools nationwide, and the live performances of show options he provides to potential clients is something of a distinction in the marching band biz. It’s been a couple of years since I chronicled a Fannin Musical Productions recording session. (Sample audio from the session – a quick balance with no percussion or synths added)