September 30, 2025 • 41 mins
Free plugins often get overlooked in the endless pursuit of premium software, but professional producers know that some of the most powerful tools cost absolutely nothing. In this illuminating conversation, Marc Matthews and Tim Benson (Aisle9) unpack their go-to free plugins that consistently deliver exceptional results across various production scenarios.
The discussion begins with TAL Chorus LX, Tim's top recommendation for achieving that classic Juno-style chorus effect. While many producers shy away from chorus on bass elements, Tim reveals how subtle application can add dimension without compromising mix integrity. Meanwhile, Marc swears by Slate Digital's Fresh Air for bringing clarity to percussion elements, though he cautions listeners about its potentially aggressive presets and the importance of proper gain staging.
Perhaps most valuable are the practical insights into how these tools integrate into real-world workflows. Soft Tube's Saturation Knob emerges as a versatile one-knob solution for adding harmonic richness, while TDR Nova provides dynamic EQ capabilities that rival premium alternatives. For spatial effects, Valhalla Super Massive creates otherworldly reverbs and delays that transform ordinary sounds into immersive soundscapes - particularly effective during breakdowns when automated thoughtfully.
What becomes clear throughout is that these aren't merely "good enough" alternatives to paid options - in many cases, they're the preferred tools of experienced producers who could choose anything. Their simplicity often becomes their strength, allowing for quick, intuitive adjustments without getting lost in parameter overload. Whether you're just starting or looking to expand your production toolkit without the investment, these recommendations offer immediate ways to elevate your sound.
Try implementing one of these free plugins in your next project and share your experience with us! We'd love to hear which free tools you consider essential in your own production arsenal.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Marc Matthews (00:00):
Again, it's quite aggressive, so as soon as you
put it on you will hear thedifference and then dial it back
.
But I've known individuals useit on vocals even across a mix
bus.
But I've heard you can use iton a full mix bus.
I don't know if I'd do thatpersonally.
Aisle9 (00:17):
I don't know, it might be a bit of a rescue remedy at
that point.
You're listening to the Insidethe Mix podcast with your host.
Marc Matthews (00:26):
Mark Matthews, welcome to Inside the Mix, your
go-to podcast for music creationand production.
Whether you're crafting yourfirst track or refining your
mixing skills, join me each weekfor expert interviews,
practical tutorials and insightsto help you level up your music
and smash it in the musicindustry.
Let's dive in.
(00:46):
Hey folks, welcome to Insidethe Mix.
I am joined, as I mentioned inthe intro there, by Tim Benson,
aka R9 again, and we're notactually answering your
questions in this episode.
This is one that we puttogether because we thought it'd
be good fun, so we're going tobe diving deep, deep diving into
(01:07):
our respective top three freeplugins Tools.
Tim and I use ourselves in ourproductions to help you upgrade
your mixes and music productionwithout spending a penny.
But before we do that, tim,welcome back.
And how are you.
Aisle9 (01:23):
Thank you very much.
Yeah, I'm not too bad, you know, been busy, as really one way
or the other, busy mixing andmastering and occasionally, you
know, creating more music aswell.
Just had a track out, so, yeah,been pretty busy.
Marc Matthews (01:39):
Indeed.
Yes, I'll put a link to that inthe episode description, as I
always do.
The title of the track.
Aisle9 (01:45):
Night Trains actually.
Marc Matthews (01:48):
Very nice, nice.
Where did you get theinspiration for the name?
Out of interest.
Aisle9 (01:52):
Well, I think it was.
Actually I was sort of writingthe track already and then I was
kind of talking with Carlactually on OK Neon Highway, and
he mentioned something about itbeing a bit, had a European
feel to it and that got methinking of trans euro express
by craftwork.
A classic yes, track, um, andthen I suddenly thought that it
(02:14):
had a real moving, sort of liketraveling vibe to the track,
which had always sort of been inmy mind while I was doing it
and I've been looking at imagesand you know, sometimes you're
trying to come up with a coverand and I actually found a few
images that started to sort ofgo, ah yeah, maybe trains maybe
like moving that kind of thing.
(02:34):
So, yeah, it just piecedtogether really, but like, and
it's funny, it's why I find,once you've got a title, you've
got an image, you can kind offinish the track, sometimes get,
you know, pull it all togethermakes more sense so yeah, it
came together but carl is toblame I'd agree with that.
Marc Matthews (02:52):
The the track I'm working on at the moment.
I've set aside some time to gothrough like creating
promotional assets, like theartwork and stuff for it, while
simultaneously mixing, and Ifind that it does help me get in
a in a headspace to thencomplete the track.
It's psychological for me.
If I know I've got the artworkand all that stuff sorted out,
then I'm like, oh, for whateverreason I find out I'm able to
(03:12):
then finish the mix sooner.
Maybe it's a psychologicalthing?
Aisle9 (03:15):
Yeah, I find the same.
Yeah.
Yeah, it's quite interesting,but on the time of Kraftwerk, I
was trying to think I was, thinkI was in.
Marc Matthews (03:26):
I was in town on the weekend and a craftwood
track came on the radio in astore.
Can't be, it might be an m&s, Ican't remember now, but it was
quite pleasant it's quite niceyeah out in a shop, then you
have a bit of craft work.
Aisle9 (03:32):
Come on the radio, yeah yeah, they were definitely a big
influence on me when I firstgot into electronic music.
But you know, yeah, definitelyI began to realize that you
didn't just have to make stuffwith guitars, I mean, they sort
of, but I don't know why becausethey're not.
They're sort of that band thatare sort of like.
You know, I don't know they'veinfluenced so many people but
(03:53):
they're not exactly sort of theydon't shout it.
They're quite sort of you knowthey don't come forward.
They're kind of these sort ofrobots making music.
It's kind of weird.
It wasn't very glamorous, butyeah, you know, but it worked or
works.
Marc Matthews (04:06):
Yeah, yeah, exactly uh folks before we dive
into, uh, our top three plugins.
Uh, as we always do with these,these episodes, if you do have
a question about musicproduction, music industry,
mixing, whatever it may be, wewould love to hear it.
So click the link in theepisode description and you can
send a quick voice note.
Alternatively, you can justclick the send me a message link
(04:27):
and just send, like, a textmessage with your question and,
of course, give yourself a shoutout as well, so who you are, if
you've got something thatyou're releasing, you want to
shout out on that.
With regards to that on theepisode as well, do put that in
there and you can find that inthe episode description.
So now that's out of the way.
Digging in to the top threefree plugins.
(04:50):
So three from yourself, threefrom me, and I usually start
with this, but I'll throw itover to you this time.
Tim, you can start the ballrolling, as it were.
Start the ball rolling, okay,what's your first?
Aisle9 (05:02):
Well, it's an impossible task, isn't it?
Because there are so many, Irealize, like free plugins.
But my number one that I putdown just because I use it all
the time, it's dead simple touse and it's just like it is tau
chorus lx.
Because if you want a chorusjuno sounding chorus similar to
(05:25):
the one on the Juno 106 or theJuno 60 or whatever, um, it may
not be exactly the same, but whocares, it's great.
It's great on synths, it'sgreat on bass.
I kind of like some chorus onbass.
Not everyone does, but I do.
You know, I know there's a bitof dissension in the ranks
between sort of stereooness onbass, but, like you know, yeah,
um, maybe on your top bass, notyour sub bass, it could be nice.
(05:54):
Um, it works really well onguitars.
Little bit on vocals.
Sometimes, if you're sending tovocals, um, I wouldn't insert
it right across a vocal, butlike, um, yeah, it's, it's just
simple as well.
Just like, how much width doyou want?
And you know, there you go,kind of thing.
How much chorus do you want?
yeah like it, and there are acouple of different algorithms
(06:14):
you can switch between, I think,one and two.
I've never known what thedifference is, but like you can
have one and two together aswell, but I sort of swap around
until I go.
Marc Matthews (06:24):
That's the one, yeah I often do that with
plugins, when there's like twoversions of something or you can
flip between and I'm justthinking, oh yeah, that sounds
better and I have no reason.
I have no idea why I just switchbetween the two and settle on
one of them, but when youmentioned that in the build up
to this, I realized I've gotthat and that particular plugin,
uh, the chorus plugin, and Ineed to make better use of it.
(06:44):
It's interesting you mentionedabout bass, because as soon as
you said that, obviously myeyebrow did raise.
But then when you mentionedthat stereo, it goes back, I
guess, to the conversationswe've had before and I've had
before on the podcast.
There's no reason why you can'tuse it on bass, you know,
because I guess there's a lot ofdiscourse surrounding sub-bass,
(07:06):
bass frequencies and the stereoplacement of those particular
frequencies.
But I mean, you wouldn't wantto go wild, but at the end of
the day, if it sounds all right,then maybe not sub-bass.
I don't know.
Aisle9 (07:17):
No, no, exactly, but sometimes just a little bit of
width on bass can be nice.
But no, I'm not suggesting wewill make our bases super stereo
.
That wouldn't be a great planyeah, but you know, especially,
as you say, the low frequencies.
Marc Matthews (07:32):
You want to keep them yeah, yeah, yeah, it'd be
quite interesting.
Yeah, get a lot of feedbackfrom people saying that their
their tunes have been um deniedplaylist placements because this
ridiculous wide bass yeah, yeah, because of me telling to put
tail chorus all over it.
Yeah, okay, yeah disclaimerfolks uh, do that uh with
(07:52):
caution.
But yeah, I, I I agree with you, though, with regards to sort
of like the mid-range of bass aswell and having those effects
on there, specifically, ifyou're carving out carvings
wrong word if you're creating asynth bass then, obviously the
the sort of the sonic soundscapeis is open to your
interpretation, so I often dothat very good it's great on
synths.
Aisle9 (08:13):
It's great on, like, all those kind of pads and all
those kind of sounds areprobably the things that you
know um chorus is reallydesigned for.
So many synths have chorusbuilt in now don't know vsts.
But again you can always swap itout and try something like that
which has got a little bit moreof a vintage style to it, sort
of a character.
Again.
(08:33):
It might have a bit morecharacter than the kind of
chorus that's just in your door.
That I guess that's what you'regoing for a lot of the time
with these, these free things,is.
You might well find them inyour DAW, but perhaps some of
these have just got a little bitof character that is different
than the ones in your DAW.
Marc Matthews (08:52):
Indeed what you mentioned there about swapping
them out.
So I think that's quite auseful point to make, in that a
lot of patches Serum, diva,whatever it is you use will have
the effects chain already setup.
It's always worth going inthere and having a look and see
what's in there and disablingthem and doing what you said,
(09:13):
using your valhalla supermassive um, yeah, a bit
foreshadowing there, um, or thetau chorus, for example, and
whipping those, whipping the oneout of the patch or disabling
it and then using one of thosewith similar settings to get a
different sound.
I feel, overlooked, I find.
Aisle9 (09:32):
Indeed.
Marc Matthews (09:34):
Well, thank you, tim.
My first one is one that I'veprobably banged on before on the
podcast about this and I'mfairly certain I got this as
soon as it dropped and that isthe Slate Digital Fresh Air
about this and I fairly certainI got this as soon as it dropped
and that is the slate digitalfresh air tried to get a nice
bit of reverb, as I say thatmaybe in a bit of
post-production, a dynamichigh-frequency processor.
(09:56):
So you've got two knobsbasically with that one, the mid
air and the high air, and it'sgot some great presets in there.
But what I find with that is ifyou do use the presets, I find
with with fresh air you you douse the presets.
I find with fresh air you'vegot to be very careful.
I find they can be quiteaggressive the presets with
fresh air and also as well,there's a gain tool in it and
that when you do use it, I findthat gain staging is quite
(10:19):
important, as it always is withfresh air, because it does add a
lot of signal level to thesound, whatever you use it on.
But things I use it on mainlyclaps and hi-hats.
Aisle9 (10:32):
All right, okay, claps and hi-hats.
Now I've known an individualwho's used it.
I hadn't thought of using it onclaps and hi-hats, bizarrely
enough, no.
Marc Matthews (10:39):
Yeah, I often do use it.
I want to say almost all ofthem.
Yeah, yeah, brilliant Withclaps, I dial it right, but it's
very, very subtle.
With hi-hats more so, butthere's a particular preset in
there.
There's not many and I can'tremember what it's called, but I
(11:00):
used to start with that one andthen tailor it slightly.
Again, it's quite aggressive.
So as soon as you put it on youwill hear the difference and
then dial it back.
But I've known individuals useit on um vocals.
I've never used on a vocal, evenacross a mix bus before never
done that never done that butI've heard, uh, you can use it
on a full, on a mix bus no, Idon't know if I'd do that
(11:24):
personally.
Maybe I don't know.
I mean, it might be a bit of arescue remedy at that point.
Aisle9 (11:29):
But I get it If you're missing, because it's adding
harmonic content, isn't?
Marc Matthews (11:35):
it really yeah, ultimately yeah.
Is it kind of a form ofsaturation?
I'm not entirely sure it kindof is in a way, isn't it, but
just a narrow band of it, isn'tit?
Aisle9 (11:47):
So it's sort of focused into the, into the frequency
range you're using I think yeahbut yeah, I find it really
really good.
Marc Matthews (11:54):
On claps and and hats uh, again, really subtle.
If I find that I'm having touse a lot of it on a clap, I'll
probably just replace the clapsample rather than just like use
excessive amounts of fresh airon it.
And the same with a hi-hat aswell, to be honest yeah, I do
think it's good.
Aisle9 (12:12):
I like it, but I I mean I've, I've even used it on
acoustic guitars, like if theywere really lacking like a bit
of clarity when I'm mixing thembut like again, yeah, it's just
less is more with that plug-in,because, yeah, if you put it on
everything, like have it on yourvocal and then all your backing
vocals, and yeah, before youknow it's sizzle fest and
everything is sort of like youknow.
Marc Matthews (12:33):
Yeah, I love that Sizzle.
What you'll do, there is sizzlefest.
You'll put it on all of thesechannels, right.
Aisle9 (12:40):
And then you'll have to get soothed on the mix bus just
to control that, to reduce allof the harshness, all that
resident sizzle.
Yeah, yeah, yeah, yeah, yeah,exactly, yeah, yeah, that is the
sort of thing that happens.
Yeah, just be really, reallyyeah sort of.
But in the right, I thinkyou're, you've got it that kind
of just pinpoint certain thingsto bring them out a little bit
(13:03):
and maybe they haven't gotenough, you know, to cut through
or to sparkle in a mix, andit's really good for that yeah,
agreed, agreed.
Marc Matthews (13:11):
So that that's my foot, that's, that's slate
digital fresh air uh so I'll nowthrow the, the proverbial ball,
back to you.
Aisle9 (13:20):
Yeah, this is, it's getting contested here, all of
these like there's lots, of,lots of options, but um, uh, I
boringly put down saturationknob by um, soft tube, um, which
is, um, yes, it, it.
It's not the most exciting ofplugins, but like um basically
(13:43):
is one large dial that you canturn up and down which adds
saturation into your mix.
It doesn't add, like you know,sort of very obvious distortion
or anything like that, certainlyat the lower volumes, um it you
can put it on virtuallyanything to add a bit of
(14:05):
saturation.
It's then got a sort of switchthat goes from low, mid, well,
low, neutral and high, andactually that doesn't work quite
the way everyone thinks it does.
I think when you have it on lowit doesn't affect the low
frequencies and affects thefrequencies above it.
When it's on the mid frequency,I think it affects the low and
(14:29):
the high, and then with the highit affects the mid and the low,
something like that.
It doesn't quite work the wayyou think it does.
I could be wrong, but I heardit explained that way.
The thing that's nice now isthe version they've got out has
got automatic gain sort ofcompensation on it as well.
(14:50):
So, it's really handy becauseyou can say, even put it on your
mix bus.
In fact it's a really greatplug-in on a mix bus because you
can just add in just subtly.
You might even find it's likeone or two or something, just
like a really really low sort ofnumber, but low settings.
(15:10):
It still adds just enoughsaturation to just add some life
to your mix.
It's just really nice.
But yeah, but it's great onbass, it's good on, uh, vocal,
it's good on sort of a littlebit of cut on guitars, anything
where you're just trying to geta little bit more presence out
of something.
Again, I suppose it's addingharmonic content in some way.
(15:33):
But yeah, I like it.
It's subtle so you can, youknow, use it without sort of
turning everything to it into asort of oversaturated mush
really and making things sounddistorted when you don't want to
.
Marc Matthews (15:49):
So yeah, it's a plug-in that I used to use quite
a lot, and I think I upgradedLogic or I might have
reformatted my device and Iforgot about it.
But now the way you'vedescribed it, I'm like, yes, I
remember that.
Now, I used to use it quiteextensively.
Aisle9 (16:06):
Yeah, Indeed, I mean obviously there's some good
saturation plugins, probably inLogic already, and there are in
Cubase, you know, so there aresome good ones around anyway.
Marc Matthews (16:17):
What I like about plugins like that is that you
can get an outcome reallyquickly without having to do
much.
You've got, like those threeparameters, that one parameter
you can switch between threepositions and you've got a help
and you can quickly get resultswithout having to.
For example, I was using LogixChromaglow just yesterday or the
(16:39):
day before and then you've gotwhich is a fantastic free plugin
, but you've got all these otherparameters in there that you
can change and you're kind oflike, oh man, I just want
something that I can switchquickly, and that's what I
really like about that.
And there are so many plugins,free plugins, like that.
Another one the one you it'snot one of the ones I was going
to mention, but you signpostedit to me last year was the what
(17:04):
was it?
The sub, the sub filter?
Aisle9 (17:06):
Yes, BX sub filter.
Bx sub filter.
Marc Matthews (17:08):
Yeah, Again, very simple.
Obviously it is a sort of macrofrom its bigger brother, but
it's still.
Aisle9 (17:16):
It's just like it's that simplicity getting a result
from yeah, just add some subinto your whatever signal you
want, some sub oscillation orsub frequency.
Yeah, it's brilliant.
No, I I think actually all ofthe things I sort of use the
most like sort of free ones dotend to have that simplicity of
use that you just go, you know,I can dial in what I need with a
(17:40):
few strokes and it's notcomplex.
Marc Matthews (17:43):
Yeah, yeah, fresh Air is very much like that.
The one I mentioned just nowand the Tau Chorus.
Aisle9 (17:49):
It's simplicity.
Yeah simplicity.
Marc Matthews (17:53):
Yeah, yeah, yeah, that's what we need, um.
So that's number two.
So my number two uh was again.
I suppose it is quite simple.
There's a bit more to it.
It's the tdr nova eq, which isa four band uh parametric eq and
obviously you got you got lowand high cut as well, but a
fantastic free EQ, one that I'veused for a very long time now.
(18:13):
But I think one great thingabout it is that it's got
dynamic EQ.
So if you do want dynamic EQ Idon't know, does the Cubase
stock plug-in have?
I'm trying to think if Logicdoes dynamic EQ, I don't think
it does.
I could be wrong.
Aisle9 (18:30):
Cubase now has it.
It has something calledfrequency, which is a a plug-in
eq, so not the channel eq, butlike a plug-in eq which, um yeah
, that has dynamic.
Um yeah, I'll have to check nowI don't know if logic does.
Marc Matthews (18:47):
Uh, I love the logic eq, but I don't know if it
does have time.
Anybody listening or watching beable to correct me on that but
I mean there's not, there's nota massive amount to say with
regards to tdr nova, it is agreat eq, four band parametric.
Obviously, like I said, the lowand high cut, but the fact it's
got the the dynamic eq elementof it.
So if you do have, uh, you'reusing a door that doesn't have
(19:08):
that and if you want a dynamiceq, then you could reach for
something like tdr nova, um, andagain, I've used it on many,
many a project and I like theinterface.
Aisle9 (19:16):
Smooth sounding as well, isn't it?
It does sound like kind of ahigh quality to it yeah, yeah, I
find it's not.
Marc Matthews (19:24):
It's not too.
Not destructive is not theright word, but but it doesn't
impart any nasty artifacts?
I find I don't get that from itand it's very easy to use.
I don't use it in a surgicalcontext.
That's one thing I don't reallyuse it for, but I suppose you
can do but I don't really use itfor that.
(19:44):
If I'm using Nova EQ, it'susually broad strokes, I find.
If I am using it versusanything really surgical strokes
, I find if I am using it versusanything really surgical, yeah,
I find I mean it's like whysomething like Pro-Q3, which is
obviously very expensive, butlike FabFilter or whatever that
I mean?
Aisle9 (20:01):
obviously it's very highly featured and can do lots
of different things, but it doeshave a really sort of smooth
kind of algorithm that meansthat you can use quite a lot of
it.
You can use settings and notsort of introduce too much sort
of artifacts that you didn'twant.
And I would say TDR Nova,considering it's free, is very
(20:26):
surprising.
As to the quality of it, it'sreally good and high quality.
I mean a lot of us would beprobably hard-pushed to tell the
difference.
You know, in terms of qualityof it is really good and high
quality.
I mean a lot of us would beprobably hard push to tell the
difference.
You know, in terms of qualityof sound, you know if you're
boosting or cutting, it's sortof very smooth sounding.
I tend to use actually frequencywithin Cubase, which is which
is it built in and I just happento like it works really well.
(20:49):
But like um, uh, yeah, I, Ididn't.
I, I didn't use dynamic eq atall until a few years ago,
really wasn't really an optionyears ago, but I, I love it now
it is really good yeah, great tohave yeah it's.
Marc Matthews (21:05):
It's something that I don't reach for that
often, but when I do is use I, Ioften find it's usually around
the similar sort of frequencyrange I find I usually go in, so
particularly with vocals, I'dsay around like the range the
higher mids and then bass, gotany like resonant bass
frequencies or something comingthrough, um.
(21:26):
But oftentimes I find that I Ioften dig into the bass and the
kick and find out, well, what'sgood, what's the frequency
buildup and going on here ratherthan go for the dynamic EQ.
But no, I think it's great tohave it available, particularly
with mastering.
Aisle9 (21:39):
Yeah, sure, yeah, it's a good plug in that.
Marc Matthews (21:44):
Indeed.
So that is my second, so thirdWell, you stole my third.
Oh shit, you said BX sub four,second, so third.
Well, you stole my third.
Aisle9 (21:53):
oh shit, but it's all right, because I have so many of
them lined up.
Yeah, I'll let you off that oneum, but I'll explain.
Bx sub filter we sort ofexplained so that it's just like
it's very simple, but like itenables you to add sort of sub
to say you've got a kick, orwhatever, and like you can dial
in some sort of sub frequencies,frequencies that you might
(22:15):
think you don't need, but likeit's surprising how just a
little bit of weight in 20, 30,40k.
You know, I mean you have to bereally cautious with it, but
that's a very simple plugin.
I think from plugin alliance.
I think that's where it comesfrom, but anyway, I think it
comes as part of.
They've got a free pack or aload of free plugins, some of
(22:36):
which are good and some of whichI don't know why you want them,
but like um, but that thatthat's a pretty great free
plugin.
But I will lob that off the listas we've covered it and I will
put in my pla in in into numberthree super massive but yeah you
equally mentioned earlier, butwe didn't discuss.
But like super massive is hasgot to be in there really
(23:00):
Valhalla, super massive.
I mean I was saying to Markearlier like uh, I don't really
know how this works, but likeyou know, I mean it's just.
Marc Matthews (23:11):
Yeah, I don't really know how this works.
Aisle9 (23:12):
But like you know, I mean it just sounds good.
Yeah, it just sounds good,doesn't it, mate?
It's just like you know, allthese sort of I get the general
thing is, like it's got, itcreates dense sort of you know,
delays, stroke, reverbs.
I think that's the thing.
It's sort of it sits on thatweird sort of point between what
is an echo and a delay and areverb, because obviously
(23:36):
reverbs are sort of essentiallyjust dense in echoes really.
But like it's just great whenyou want something that is
massive and over-the-top andcrazy and you know you're
putting some, maybe you've gotsome effects in your track and
you just want them to go onforever or whatever.
(23:56):
You want those kind of things.
Or you want to throw on a vocalto go through it or um, you
know, I mean it can be good onleads, on guitar and that sort
of stuff.
Like um, again, I thinkautomation is quite useful with
this one so that it doesn't takeover the entire mix.
But I also like the fact thatit's got a preset that's
(24:19):
something I think it's calledfrom benson or something like
usa or something so that beingmy surname, I often choose this
reverb.
That's like got my my on it andI have no idea why, but it
sounds massive and cool and Ilike the Benson reverb setting
on it.
Marc Matthews (24:38):
You can make it an appropriation claim and just
say it's one of yours that youdeveloped for the plugin.
Aisle9 (24:43):
Yeah, I developed it, but I like it.
I think you said you use it abit, yeah.
Marc Matthews (24:48):
I've got it.
I haven't used it for a while,but it's one of those ones where
, like you said, if I want Iwould say probably more so in
breakdowns, I find Ah right,You're great for breakdowns,
yeah yeah, I like making thesekind of intricate.
Intricate might be the wrongword, but these sort of rich
soundscapes.
Aisle9 (25:16):
And I find it's really good for that.
Marc Matthews (25:17):
But again, automation, like you don't, you
don't want it all the waythrough, because then you just
have this weird depending onwhat I mean patch you use or how
you set it up.
Yeah, yeah, most notably in inlike a breakdown or maybe also
at the end of a track.
Aisle9 (25:22):
If I want to continue on um, because the feedback and
warp can make it go quite insane, and yeah you do have to watch
out.
I've sometimes stopped my trackwhat's that sound in the
background, only to find outit's, like you know, super
massive just going backgroundstill you know.
So like you do have to watchout, that it's not just taken
(25:45):
over your entire track.
I've done that we've got.
Marc Matthews (25:48):
I've got.
I've had it with Logic, whereit does when you have a track
and then you set a bus, anoutput on a track, it
automatically creates anauxiliary send if one doesn't
already exist.
So I've had instances in thepast where I've just got these
wild sends and these variousother things happening with
regards to that.
So happens a lot, happens a lot.
(26:09):
One thing I hate about Logicthat, to be fair, it's a right
pain in the ass.
You're sat there because youcan't see all your sends in one,
in one view on your monitor,and then there's something
that's just like poking out somuch, and then I'm trying to
work out why.
And it's because Logic decidedto create an additional
auxiliary send which is justlike duplicating and sending out
extra signal level.
Aisle9 (26:30):
Uh, but that's my grind on logic anyway yeah, but I get
a similar thing where, like, Icreate a send and somehow it
automatically sends the sendsout to another send.
I don't know how it roots it.
It's like roots your delay intoyour reverb and you'll be at
some point.
(26:50):
You go like that's a very weirdsound.
I didn't mean this and you getthis decay, that's sort of going
on forever as your delay sendsinto your reverb or your reverb
into your delay or somethinglike that, and then you, you
unpick it and figure out what'sgoing on.
But I mean, I, I I do thinkit's human error, but, like um,
it's easy to do because I keepdoing it.
Marc Matthews (27:11):
So you know, yeah yeah, and no matter how many
times it happens, you just ithappens again.
It happens again yeah yeah,yeah, do that all the time.
So, super massive, yes, a verygood one.
So my final, third and finalone is the Goodhertz Mid-Side
Matrix.
So this is a again, it is atool plug-in that is incredibly
(27:35):
simple.
It is in terms of its GUI, interms of its setup.
So you've got mid side encoding, decoding, and basically you
could increase, decrease the mid, or you could increase,
decrease the sides, and I findit's a fantastic tool.
I don't really use it in mixingthat much.
(27:56):
I can't remember the last timeI used it in a mix, to be honest
, unless somebody sends me astem of a group, for example if
it's drums or it's a synth groupor something like that, but
mainly in mastering.
But I find with this plugin,again, it's kind of like fresh
air.
Very rarely do I go by morethan like a 1 dB boost on the
sides.
It's very, very limited,because also with this as well,
(28:19):
if I remember rightly, becauseI've not actually seen it in
there, but I don't think thereis a gain knob on there or a mix
, a dry, dry, wet knob on there.
But one thing I've done inmastering in the in the past if,
in particular, if I've got achorus or something and I just
want to open out rear or abreakdown just slightly.
I might automate the mid-sidematrix and just have it like
(28:39):
boost by 0.5 on the sides during, uh, during a breakdown or
something like that.
Aisle9 (28:44):
But that's the times add a bit of width to the break.
Yeah, yeah, yeah.
Marc Matthews (28:47):
So you've got this focused verse and then just
a really like 0.5 boost um ofthe sides, especially if you go
the other way and do a 0.5 cutor decrease on the mids.
But usually I go with a booston the sides in the chorus just
to open it out or during thebreakdown and then then drop it
back again, and that's reallythe only times I use it, but I
do use it quite a lot for thatreason.
(29:08):
So it's a mid-side matrix,again, very simple.
Tool two I'm fairly confidentin my convictions here.
That is just two parameters ofa mid and side boost or decrease
with that one there, um.
But word of warning, just becareful, you don't for my
experience you don't want to dolike wild boosts of the size of
(29:29):
like three or four db, becausethen shit gets weird.
Always check it with a uh, whatis it?
I can't remember the name of it.
Now I use isotope uh, insightuh, to check the phase
correlation.
Can't remember what they'recalled.
No, it's gone.
Phase correlation meter.
There we go.
That's what I was looking for.
Yeah, the scope sort of.
Aisle9 (29:47):
Thing.
Marc Matthews (29:47):
Yeah, yeah, if you're going to use this
particular tool and you do makeany boosts on the sides, always
check your phase correlationbecause again shit can get weird
.
Aisle9 (29:55):
So use it with caution, but it works really well use it
with caution, but it worksreally well, are we allowed a
few honorable mentions?
Marc Matthews (30:03):
Yeah, yeah, we'll move on to honorable mentions
now.
So one of mine was supermassive, so we've been through
that.
The other one and I did anepisode on this is Vital.
Now, technically, you candownload and you have a free
subscription.
So maybe it's not technically afree plug-in.
There is a free subscriptionfor vital because you can have
(30:26):
paid subscriptions for vitalright but that would be an
honorable mention in terms ofthat's awesome, so it's amazing
synth yeah oh, yeah.
Yeah, I haven't only scratchedthe surface, but what I've seen
so far, um, I think it'sbrilliant.
And again, simplicitysimplicity.
Aisle9 (30:41):
Yeah, yeah, um, I I think that's it.
Yeah, I mean, if we go intovsts, like you know, there are
quite a few of those around um,and I mean it's tricky, isn't it
, because there are a billionand one sort of sort of you know
analog synths, sort of you knowuh out there, sort of free ones
(31:02):
, uh like vitals, like sort ofisn't vital, a um, a wavetable
synth, really isn't that?
yes, yeah, yeah so like serumsort of thing yeah um, but I
think, yeah, it stands alone insort of really, you know,
outside of a paid option likeserum.
I think it's it's one of thebest.
(31:23):
Yeah, that's really good.
Um, yeah, and I was going tomention there's a couple of sort
of things like um, well, dealsactually, where you can get free
, sort of a whole series ofthings like the weight waves I
know waves are so it can be alittle bit um divisive at
moments, but like, um, whatwaves, if you can cope with them
(31:46):
.
Being attached to the company.
Um have give you nine essentialplugins for free, which includes
vcomp and veq3, which arereally good, compressor and eq,
and like there's quite a lot ofother stuff.
You get an fn synth in therecalled flow or something you
know I mean for free.
You know I guess you have tosort of download the waves app
(32:11):
and sign up into something likethat, but like it's, you know
that's really good.
An isotope do a similar sort ofthing.
You have to have the isotopeapp, I think.
And like they've got an eq, theisotope, sort of ozone 11 eq, I
think something like that, yeahwhich is just free um, which is
a pretty high, functioning,high quality eq um.
(32:33):
They've got isotope vinyl, whichis a really cool little vinyl
sort of um plug-in, sort ofmimics vinyl record sort of
sound.
That's really good.
And they've got like the imagerwhich I use a lot, actually
just a really simple imager justto widen things out a little
bit.
Um, and the doubler as part ofthat, and the doubler is really
(32:54):
good on vocals sometimes or anysort of mono sort of source,
because you, uh, you know andand the image is good like that
because it's got a stereoizer soit can make things a bit
broader if it's a mono source.
So, yeah, you know, they'rekind of just useful tools,
aren't they?
So I I would say they're reallygreat, like those kind of
(33:16):
little things for for nothing.
And um, the chow tape was mylast one, which is uh, I've not
heard of that one before thechow is that c-h-o-w am I?
yes, c-h-o-w yeah take chow tapemodel yeah, looking at it up
now yeah, and it's quite aboring looking plug-in in some
(33:37):
ways and look sort of you knowamazing on the gui.
But like it, yeah, it does somereally kind of cool things,
from saturation to weirdwobbliness, you know, all that
kind of to sort of glitchiness,to all sorts of different tape
style effects and yeah, Ithought it was pretty good for
nothing yeah yeah, I'm lookingat it here.
Marc Matthews (33:58):
I'm going to dive into that.
It looks quite interesting.
It's one that I've not yeah,it's a reminder about isotope
vinyl as well?
I need to.
Aisle9 (34:05):
Um, yeah, they're kind of different colors, aren't they
that you, I mean, I haven't gota vinyl thing, I haven't got
tape thing that does the similartype.
Um, you know, tape emulation,um, within cubase I mean, I've
got like stuff in my door thatgoes like, you know, we'll do a
bit of tape saturation orsomething like that, but it
(34:27):
doesn't really like copy, thekind of like sort of different
uh properties of tape where itgets a bit sort of chewed and
garbled and all those sorts ofthings, which is the more lo-fi
kind of side of it, which isquite nice.
I like that kind of exploringyou can do that with vinyl,
can't you?
Marc Matthews (34:42):
you can?
There's a lo-fi kind of side ofit which is quite nice.
I like that kind of exploring.
You can?
There's a lo-fi setting withwhat, if I?
Aisle9 (34:45):
yeah, very long times since I've used it yeah, it does
some really good things likethat again great for degrading
stuff and messing it up like youhave to be a bit cautious on
these things.
If you, especially if you'reproducing something that's meant
to sound very high-fi, youmight not want to use it.
But you know, um don't want the1930s setting on the vinyl.
(35:07):
Whatever it is, I've forgottenit goes quite, it goes quite old
.
Marc Matthews (35:11):
It does, yeah, and it can get quite destructive
of so again, again, it dependswhat the sound you're going for.
But no, all very good honorablementions.
I was going to mention one, butthen I looked it up and it
turns out it's not free anymore.
So damn, yeah, there are manyplugins I've got for free and I
guess they're lost.
(35:31):
Leaders from the organizationwhich are no longer free, and it
was the baby audio comeback kiduh, yeah it's a delay plugin
but a really nice delay, isn'tit?
Aisle9 (35:40):
it it is, it is.
I forgot it actually, but yeah.
Marc Matthews (35:43):
But I managed to pick it up for free during a and
I was just double-checkingbecause I was going to mention
that, but unfortunately,audience, it's not free.
It's like $69 now.
Aisle9 (35:52):
Again, there are these ones that do come up just
sometimes, don't they you?
Marc Matthews (35:56):
add yeah.
Aisle9 (35:57):
Yeah, you had, like you know, the LA2A came up, didn't
it, and things like that.
Marc Matthews (36:03):
Yeah, I jumped on that.
It's worth.
I mean, I don't like I say thisand I've got a mailing list
myself, but I often don't likejoining mailing lists, which is
quite ironic.
But being on the UAD mailinglist is quite good for that
reason.
but being on the UAD mailinglist is quite good for that
reason because you do get theserandom campaigns where you'll
(36:26):
get a really high quality freeplugin from UAD, which, in turn,
I then went on and bought more,so it did work from a marketing
perspective for them but mostdefinitely I think it's worth to
know if you've got a particularcompany that you like their
plugins, it's probably worthbeing at least following them on
(36:48):
social media just to keep aneye out, and in watering holes
online, because people will postwhen shit's being given away
for free and jumping on that.
Aisle9 (36:56):
Yeah, I've got about four Softube plugins, which were
all just given away by softtube for free and I really like
the saturation knob, which issoft tube.
But, like then, I got a wholehost of other ones which are all
quite good, but I have to admitI just haven't really had the
time to use.
Marc Matthews (37:13):
I find that, yeah , I get all these plugins and
then I'm in a mix session andthen I just still go back to the
ones I always use.
Aisle9 (37:20):
I have that problem all the time.
Yeah, yeah, yeah 100% Cool.
Marc Matthews (37:25):
Some honourable mentions there, folks, and I
will put links to all of theplugins mentioned in this
episode in the episodedescription.
And just to say I should havesaid this right at the beginning
this episode is in no way,shape or form, sponsored by any
of the organisations pluginvendors that we've mentioned.
Aisle9 (37:41):
It is not no way, shape or form, sponsored by any of the
organizations.
What a show.
Marc Matthews (37:42):
Plugin vendors that we've mentioned.
It is not at all.
This is just our opinion.
It is an advice buffet, as itwere.
But if you have a favorite freeplugin that you use all the
time, send us a message.
Click that.
Send me a message link in theepisode description and let us
know what plugin it is.
(38:02):
It's one that uh should be inthe honorable mention list or in
the top three, and it's achallenge to you as well.
Folks listening, choose one ofthe three free plugins that
we've mentioned and use it in aproject and let us know how you
get on.
Again, you can click that linkin the episode description.
It'd be uh interesting to knowyour thoughts and opinions and
what we've mentioned, becauseyou might not agree with what
(38:22):
we've mentioned.
You know, you might not.
Um tim, thank you very much.
Aisle9 (38:27):
Always a pleasure any news anything on the horizon uh,
that is a good question.
I mean, I need to.
As soon as I've got a track out, I'm beginning to think, oh
gosh, I've got to create anotherone now so I need to.
Yeah, but I, I, as of yet, I'msort of busy working on working
with drew night actually at themoment, on a release of his, a
(38:48):
track of his which is, I think,it's going to be a great track,
so I'm really looking forward tofinishing that for him and
working on a couple of otherprojects for clients.
At the moment, like, but yeah,no, at some point there will be
some more aisle nine probably bythe time this comes out,
there'll be another, anothersingle, but like yeah, night
(39:10):
trains is the last one at themoment, but like yeah.
I'm trying to hit them every,every month really, and not not
drop any any months.
I've made it so far, I thinkthrough the year I'm trying to
do the yeah, sort of, and Idropped an album, so I'm feeling
like I've been doing all rightyeah, you do well, mate.
Marc Matthews (39:30):
Yeah, I, uh, I hit the skids a touch so I
haven't released anything sincejuly, but um, I'm hoping to pick
it up again myself.
Um, probably won't be september, I'm looking for early october
and then getting back on the uhyou've got quite a bit coming
online that doesn't involveaudio, does it?
Aisle9 (39:49):
yes, yeah indeed yeah, yeah.
Marc Matthews (39:51):
So I'm gonna be getting married in in october,
so uh that is my excuse yeah, Isay excuse it's uh it hasn't
really been stressed withTouchwood so far.
So, yeah, we'll see what happenswith music releases, but no,
folks, if you're listening tothis I don't know why I said no
then do click the link in theepisode.
(40:13):
If we do have any releases whenthis drops, I will put links to
them in the episode description.
So always check there, becausethis is recording on the 16th of
September, so between now andthe release date we might
actually get something else.
Aisle9 (40:27):
There'll be something going, tim, it's been a pleasure
.
Marc Matthews (40:30):
Thank you very much, and folks.
Aisle9 (40:31):
Oh, thank you.
Marc Matthews (40:32):
Until next time, stay inspired, keep creating and
don't be afraid to experimentinside the mix.
Again, it's quite aggressive, so as soon as you
put it on you will hear thedifference and then dial it back
.
But I've known individuals useit on vocals even across a mix
bus.
But I've heard you can use iton a full mix bus.
I don't know if I'd do thatpersonally.
Aisle9 (00:17):
I don't know, it might be a bit of a rescue remedy at
that point.
You're listening to the Insidethe Mix podcast with your host.
Marc Matthews (00:26):
Mark Matthews, welcome to Inside the Mix, your
go-to podcast for music creationand production.
Whether you're crafting yourfirst track or refining your
mixing skills, join me each weekfor expert interviews,
practical tutorials and insightsto help you level up your music
and smash it in the musicindustry.
Let's dive in.
(00:46):
Hey folks, welcome to Insidethe Mix.
I am joined, as I mentioned inthe intro there, by Tim Benson,
aka R9 again, and we're notactually answering your
questions in this episode.
This is one that we puttogether because we thought it'd
be good fun, so we're going tobe diving deep, deep diving into
(01:07):
our respective top three freeplugins Tools.
Tim and I use ourselves in ourproductions to help you upgrade
your mixes and music productionwithout spending a penny.
But before we do that, tim,welcome back.
And how are you.
Aisle9 (01:23):
Thank you very much.
Yeah, I'm not too bad, you know, been busy, as really one way
or the other, busy mixing andmastering and occasionally, you
know, creating more music aswell.
Just had a track out, so, yeah,been pretty busy.
Marc Matthews (01:39):
Indeed.
Yes, I'll put a link to that inthe episode description, as I
always do.
The title of the track.
Aisle9 (01:45):
Night Trains actually.
Marc Matthews (01:48):
Very nice, nice.
Where did you get theinspiration for the name?
Out of interest.
Aisle9 (01:52):
Well, I think it was.
Actually I was sort of writingthe track already and then I was
kind of talking with Carlactually on OK Neon Highway, and
he mentioned something about itbeing a bit, had a European
feel to it and that got methinking of trans euro express
by craftwork.
A classic yes, track, um, andthen I suddenly thought that it
(02:14):
had a real moving, sort of liketraveling vibe to the track,
which had always sort of been inmy mind while I was doing it
and I've been looking at imagesand you know, sometimes you're
trying to come up with a coverand and I actually found a few
images that started to sort ofgo, ah yeah, maybe trains maybe
like moving that kind of thing.
(02:34):
So, yeah, it just piecedtogether really, but like, and
it's funny, it's why I find,once you've got a title, you've
got an image, you can kind offinish the track, sometimes get,
you know, pull it all togethermakes more sense so yeah, it
came together but carl is toblame I'd agree with that.
Marc Matthews (02:52):
The the track I'm working on at the moment.
I've set aside some time to gothrough like creating
promotional assets, like theartwork and stuff for it, while
simultaneously mixing, and Ifind that it does help me get in
a in a headspace to thencomplete the track.
It's psychological for me.
If I know I've got the artworkand all that stuff sorted out,
then I'm like, oh, for whateverreason I find out I'm able to
(03:12):
then finish the mix sooner.
Maybe it's a psychologicalthing?
Aisle9 (03:15):
Yeah, I find the same.
Yeah.
Yeah, it's quite interesting,but on the time of Kraftwerk, I
was trying to think I was, thinkI was in.
Marc Matthews (03:26):
I was in town on the weekend and a craftwood
track came on the radio in astore.
Can't be, it might be an m&s, Ican't remember now, but it was
quite pleasant it's quite niceyeah out in a shop, then you
have a bit of craft work.
Aisle9 (03:32):
Come on the radio, yeah yeah, they were definitely a big
influence on me when I firstgot into electronic music.
But you know, yeah, definitelyI began to realize that you
didn't just have to make stuffwith guitars, I mean, they sort
of, but I don't know why becausethey're not.
They're sort of that band thatare sort of like.
You know, I don't know they'veinfluenced so many people but
(03:53):
they're not exactly sort of theydon't shout it.
They're quite sort of you knowthey don't come forward.
They're kind of these sort ofrobots making music.
It's kind of weird.
It wasn't very glamorous, butyeah, you know, but it worked or
works.
Marc Matthews (04:06):
Yeah, yeah, exactly uh folks before we dive
into, uh, our top three plugins.
Uh, as we always do with these,these episodes, if you do have
a question about musicproduction, music industry,
mixing, whatever it may be, wewould love to hear it.
So click the link in theepisode description and you can
send a quick voice note.
Alternatively, you can justclick the send me a message link
(04:27):
and just send, like, a textmessage with your question and,
of course, give yourself a shoutout as well, so who you are, if
you've got something thatyou're releasing, you want to
shout out on that.
With regards to that on theepisode as well, do put that in
there and you can find that inthe episode description.
So now that's out of the way.
Digging in to the top threefree plugins.
(04:50):
So three from yourself, threefrom me, and I usually start
with this, but I'll throw itover to you this time.
Tim, you can start the ballrolling, as it were.
Start the ball rolling, okay,what's your first?
Aisle9 (05:02):
Well, it's an impossible task, isn't it?
Because there are so many, Irealize, like free plugins.
But my number one that I putdown just because I use it all
the time, it's dead simple touse and it's just like it is tau
chorus lx.
Because if you want a chorusjuno sounding chorus similar to
(05:25):
the one on the Juno 106 or theJuno 60 or whatever, um, it may
not be exactly the same, but whocares, it's great.
It's great on synths, it'sgreat on bass.
I kind of like some chorus onbass.
Not everyone does, but I do.
You know, I know there's a bitof dissension in the ranks
between sort of stereooness onbass, but, like you know, yeah,
um, maybe on your top bass, notyour sub bass, it could be nice.
(05:54):
Um, it works really well onguitars.
Little bit on vocals.
Sometimes, if you're sending tovocals, um, I wouldn't insert
it right across a vocal, butlike, um, yeah, it's, it's just
simple as well.
Just like, how much width doyou want?
And you know, there you go,kind of thing.
How much chorus do you want?
yeah like it, and there are acouple of different algorithms
(06:14):
you can switch between, I think,one and two.
I've never known what thedifference is, but like you can
have one and two together aswell, but I sort of swap around
until I go.
Marc Matthews (06:24):
That's the one, yeah I often do that with
plugins, when there's like twoversions of something or you can
flip between and I'm justthinking, oh yeah, that sounds
better and I have no reason.
I have no idea why I just switchbetween the two and settle on
one of them, but when youmentioned that in the build up
to this, I realized I've gotthat and that particular plugin,
uh, the chorus plugin, and Ineed to make better use of it.
(06:44):
It's interesting you mentionedabout bass, because as soon as
you said that, obviously myeyebrow did raise.
But then when you mentionedthat stereo, it goes back, I
guess, to the conversationswe've had before and I've had
before on the podcast.
There's no reason why you can'tuse it on bass, you know,
because I guess there's a lot ofdiscourse surrounding sub-bass,
(07:06):
bass frequencies and the stereoplacement of those particular
frequencies.
But I mean, you wouldn't wantto go wild, but at the end of
the day, if it sounds all right,then maybe not sub-bass.
I don't know.
Aisle9 (07:17):
No, no, exactly, but sometimes just a little bit of
width on bass can be nice.
But no, I'm not suggesting wewill make our bases super stereo
.
That wouldn't be a great planyeah, but you know, especially,
as you say, the low frequencies.
Marc Matthews (07:32):
You want to keep them yeah, yeah, yeah, it'd be
quite interesting.
Yeah, get a lot of feedbackfrom people saying that their
their tunes have been um deniedplaylist placements because this
ridiculous wide bass yeah, yeah, because of me telling to put
tail chorus all over it.
Yeah, okay, yeah disclaimerfolks uh, do that uh with
(07:52):
caution.
But yeah, I, I I agree with you, though, with regards to sort
of like the mid-range of bass aswell and having those effects
on there, specifically, ifyou're carving out carvings
wrong word if you're creating asynth bass then, obviously the
the sort of the sonic soundscapeis is open to your
interpretation, so I often dothat very good it's great on
synths.
Aisle9 (08:13):
It's great on, like, all those kind of pads and all
those kind of sounds areprobably the things that you
know um chorus is reallydesigned for.
So many synths have chorusbuilt in now don't know vsts.
But again you can always swap itout and try something like that
which has got a little bit moreof a vintage style to it, sort
of a character.
Again.
(08:33):
It might have a bit morecharacter than the kind of
chorus that's just in your door.
That I guess that's what you'regoing for a lot of the time
with these, these free things,is.
You might well find them inyour DAW, but perhaps some of
these have just got a little bitof character that is different
than the ones in your DAW.
Marc Matthews (08:52):
Indeed what you mentioned there about swapping
them out.
So I think that's quite auseful point to make, in that a
lot of patches Serum, diva,whatever it is you use will have
the effects chain already setup.
It's always worth going inthere and having a look and see
what's in there and disablingthem and doing what you said,
(09:13):
using your valhalla supermassive um, yeah, a bit
foreshadowing there, um, or thetau chorus, for example, and
whipping those, whipping the oneout of the patch or disabling
it and then using one of thosewith similar settings to get a
different sound.
I feel, overlooked, I find.
Aisle9 (09:32):
Indeed.
Marc Matthews (09:34):
Well, thank you, tim.
My first one is one that I'veprobably banged on before on the
podcast about this and I'mfairly certain I got this as
soon as it dropped and that isthe Slate Digital Fresh Air
about this and I fairly certainI got this as soon as it dropped
and that is the slate digitalfresh air tried to get a nice
bit of reverb, as I say thatmaybe in a bit of
post-production, a dynamichigh-frequency processor.
(09:56):
So you've got two knobsbasically with that one, the mid
air and the high air, and it'sgot some great presets in there.
But what I find with that is ifyou do use the presets, I find
with with fresh air you you douse the presets.
I find with fresh air you'vegot to be very careful.
I find they can be quiteaggressive the presets with
fresh air and also as well,there's a gain tool in it and
that when you do use it, I findthat gain staging is quite
(10:19):
important, as it always is withfresh air, because it does add a
lot of signal level to thesound, whatever you use it on.
But things I use it on mainlyclaps and hi-hats.
Aisle9 (10:32):
All right, okay, claps and hi-hats.
Now I've known an individualwho's used it.
I hadn't thought of using it onclaps and hi-hats, bizarrely
enough, no.
Marc Matthews (10:39):
Yeah, I often do use it.
I want to say almost all ofthem.
Yeah, yeah, brilliant Withclaps, I dial it right, but it's
very, very subtle.
With hi-hats more so, butthere's a particular preset in
there.
There's not many and I can'tremember what it's called, but I
(11:00):
used to start with that one andthen tailor it slightly.
Again, it's quite aggressive.
So as soon as you put it on youwill hear the difference and
then dial it back.
But I've known individuals useit on um vocals.
I've never used on a vocal, evenacross a mix bus before never
done that never done that butI've heard, uh, you can use it
on a full, on a mix bus no, Idon't know if I'd do that
(11:24):
personally.
Maybe I don't know.
I mean, it might be a bit of arescue remedy at that point.
Aisle9 (11:29):
But I get it If you're missing, because it's adding
harmonic content, isn't?
Marc Matthews (11:35):
it really yeah, ultimately yeah.
Is it kind of a form ofsaturation?
I'm not entirely sure it kindof is in a way, isn't it, but
just a narrow band of it, isn'tit?
Aisle9 (11:47):
So it's sort of focused into the, into the frequency
range you're using I think yeahbut yeah, I find it really
really good.
Marc Matthews (11:54):
On claps and and hats uh, again, really subtle.
If I find that I'm having touse a lot of it on a clap, I'll
probably just replace the clapsample rather than just like use
excessive amounts of fresh airon it.
And the same with a hi-hat aswell, to be honest yeah, I do
think it's good.
Aisle9 (12:12):
I like it, but I I mean I've, I've even used it on
acoustic guitars, like if theywere really lacking like a bit
of clarity when I'm mixing thembut like again, yeah, it's just
less is more with that plug-in,because, yeah, if you put it on
everything, like have it on yourvocal and then all your backing
vocals, and yeah, before youknow it's sizzle fest and
everything is sort of like youknow.
Marc Matthews (12:33):
Yeah, I love that Sizzle.
What you'll do, there is sizzlefest.
You'll put it on all of thesechannels, right.
Aisle9 (12:40):
And then you'll have to get soothed on the mix bus just
to control that, to reduce allof the harshness, all that
resident sizzle.
Yeah, yeah, yeah, yeah, yeah,exactly, yeah, yeah, that is the
sort of thing that happens.
Yeah, just be really, reallyyeah sort of.
But in the right, I thinkyou're, you've got it that kind
of just pinpoint certain thingsto bring them out a little bit
(13:03):
and maybe they haven't gotenough, you know, to cut through
or to sparkle in a mix, andit's really good for that yeah,
agreed, agreed.
Marc Matthews (13:11):
So that that's my foot, that's, that's slate
digital fresh air uh so I'll nowthrow the, the proverbial ball,
back to you.
Aisle9 (13:20):
Yeah, this is, it's getting contested here, all of
these like there's lots, of,lots of options, but um, uh, I
boringly put down saturationknob by um, soft tube, um, which
is, um, yes, it, it.
It's not the most exciting ofplugins, but like um basically
(13:43):
is one large dial that you canturn up and down which adds
saturation into your mix.
It doesn't add, like you know,sort of very obvious distortion
or anything like that, certainlyat the lower volumes, um it you
can put it on virtuallyanything to add a bit of
(14:05):
saturation.
It's then got a sort of switchthat goes from low, mid, well,
low, neutral and high, andactually that doesn't work quite
the way everyone thinks it does.
I think when you have it on lowit doesn't affect the low
frequencies and affects thefrequencies above it.
When it's on the mid frequency,I think it affects the low and
(14:29):
the high, and then with the highit affects the mid and the low,
something like that.
It doesn't quite work the wayyou think it does.
I could be wrong, but I heardit explained that way.
The thing that's nice now isthe version they've got out has
got automatic gain sort ofcompensation on it as well.
(14:50):
So, it's really handy becauseyou can say, even put it on your
mix bus.
In fact it's a really greatplug-in on a mix bus because you
can just add in just subtly.
You might even find it's likeone or two or something, just
like a really really low sort ofnumber, but low settings.
(15:10):
It still adds just enoughsaturation to just add some life
to your mix.
It's just really nice.
But yeah, but it's great onbass, it's good on, uh, vocal,
it's good on sort of a littlebit of cut on guitars, anything
where you're just trying to geta little bit more presence out
of something.
Again, I suppose it's addingharmonic content in some way.
(15:33):
But yeah, I like it.
It's subtle so you can, youknow, use it without sort of
turning everything to it into asort of oversaturated mush
really and making things sounddistorted when you don't want to
.
Marc Matthews (15:49):
So yeah, it's a plug-in that I used to use quite
a lot, and I think I upgradedLogic or I might have
reformatted my device and Iforgot about it.
But now the way you'vedescribed it, I'm like, yes, I
remember that.
Now, I used to use it quiteextensively.
Aisle9 (16:06):
Yeah, Indeed, I mean obviously there's some good
saturation plugins, probably inLogic already, and there are in
Cubase, you know, so there aresome good ones around anyway.
Marc Matthews (16:17):
What I like about plugins like that is that you
can get an outcome reallyquickly without having to do
much.
You've got, like those threeparameters, that one parameter
you can switch between threepositions and you've got a help
and you can quickly get resultswithout having to.
For example, I was using LogixChromaglow just yesterday or the
(16:39):
day before and then you've gotwhich is a fantastic free plugin
, but you've got all these otherparameters in there that you
can change and you're kind oflike, oh man, I just want
something that I can switchquickly, and that's what I
really like about that.
And there are so many plugins,free plugins, like that.
Another one the one you it'snot one of the ones I was going
to mention, but you signpostedit to me last year was the what
(17:04):
was it?
The sub, the sub filter?
Aisle9 (17:06):
Yes, BX sub filter.
Bx sub filter.
Marc Matthews (17:08):
Yeah, Again, very simple.
Obviously it is a sort of macrofrom its bigger brother, but
it's still.
Aisle9 (17:16):
It's just like it's that simplicity getting a result
from yeah, just add some subinto your whatever signal you
want, some sub oscillation orsub frequency.
Yeah, it's brilliant.
No, I I think actually all ofthe things I sort of use the
most like sort of free ones dotend to have that simplicity of
use that you just go, you know,I can dial in what I need with a
(17:40):
few strokes and it's notcomplex.
Marc Matthews (17:43):
Yeah, yeah, fresh Air is very much like that.
The one I mentioned just nowand the Tau Chorus.
Aisle9 (17:49):
It's simplicity.
Yeah simplicity.
Marc Matthews (17:53):
Yeah, yeah, yeah, that's what we need, um.
So that's number two.
So my number two uh was again.
I suppose it is quite simple.
There's a bit more to it.
It's the tdr nova eq, which isa four band uh parametric eq and
obviously you got you got lowand high cut as well, but a
fantastic free EQ, one that I'veused for a very long time now.
(18:13):
But I think one great thingabout it is that it's got
dynamic EQ.
So if you do want dynamic EQ Idon't know, does the Cubase
stock plug-in have?
I'm trying to think if Logicdoes dynamic EQ, I don't think
it does.
I could be wrong.
Aisle9 (18:30):
Cubase now has it.
It has something calledfrequency, which is a a plug-in
eq, so not the channel eq, butlike a plug-in eq which, um yeah
, that has dynamic.
Um yeah, I'll have to check nowI don't know if logic does.
Marc Matthews (18:47):
Uh, I love the logic eq, but I don't know if it
does have time.
Anybody listening or watching beable to correct me on that but
I mean there's not, there's nota massive amount to say with
regards to tdr nova, it is agreat eq, four band parametric.
Obviously, like I said, the lowand high cut, but the fact it's
got the the dynamic eq elementof it.
So if you do have, uh, you'reusing a door that doesn't have
(19:08):
that and if you want a dynamiceq, then you could reach for
something like tdr nova, um, andagain, I've used it on many,
many a project and I like theinterface.
Aisle9 (19:16):
Smooth sounding as well, isn't it?
It does sound like kind of ahigh quality to it yeah, yeah, I
find it's not.
Marc Matthews (19:24):
It's not too.
Not destructive is not theright word, but but it doesn't
impart any nasty artifacts?
I find I don't get that from itand it's very easy to use.
I don't use it in a surgicalcontext.
That's one thing I don't reallyuse it for, but I suppose you
can do but I don't really use itfor that.
(19:44):
If I'm using Nova EQ, it'susually broad strokes, I find.
If I am using it versusanything really surgical strokes
, I find if I am using it versusanything really surgical, yeah,
I find I mean it's like whysomething like Pro-Q3, which is
obviously very expensive, butlike FabFilter or whatever that
I mean?
Aisle9 (20:01):
obviously it's very highly featured and can do lots
of different things, but it doeshave a really sort of smooth
kind of algorithm that meansthat you can use quite a lot of
it.
You can use settings and notsort of introduce too much sort
of artifacts that you didn'twant.
And I would say TDR Nova,considering it's free, is very
(20:26):
surprising.
As to the quality of it, it'sreally good and high quality.
I mean a lot of us would beprobably hard-pushed to tell the
difference.
You know, in terms of qualityof it is really good and high
quality.
I mean a lot of us would beprobably hard push to tell the
difference.
You know, in terms of qualityof sound, you know if you're
boosting or cutting, it's sortof very smooth sounding.
I tend to use actually frequencywithin Cubase, which is which
is it built in and I just happento like it works really well.
(20:49):
But like um, uh, yeah, I, Ididn't.
I, I didn't use dynamic eq atall until a few years ago,
really wasn't really an optionyears ago, but I, I love it now
it is really good yeah, great tohave yeah it's.
Marc Matthews (21:05):
It's something that I don't reach for that
often, but when I do is use I, Ioften find it's usually around
the similar sort of frequencyrange I find I usually go in, so
particularly with vocals, I'dsay around like the range the
higher mids and then bass, gotany like resonant bass
frequencies or something comingthrough, um.
(21:26):
But oftentimes I find that I Ioften dig into the bass and the
kick and find out, well, what'sgood, what's the frequency
buildup and going on here ratherthan go for the dynamic EQ.
But no, I think it's great tohave it available, particularly
with mastering.
Aisle9 (21:39):
Yeah, sure, yeah, it's a good plug in that.
Marc Matthews (21:44):
Indeed.
So that is my second, so thirdWell, you stole my third.
Oh shit, you said BX sub four,second, so third.
Well, you stole my third.
Aisle9 (21:53):
oh shit, but it's all right, because I have so many of
them lined up.
Yeah, I'll let you off that oneum, but I'll explain.
Bx sub filter we sort ofexplained so that it's just like
it's very simple, but like itenables you to add sort of sub
to say you've got a kick, orwhatever, and like you can dial
in some sort of sub frequencies,frequencies that you might
(22:15):
think you don't need, but likeit's surprising how just a
little bit of weight in 20, 30,40k.
You know, I mean you have to bereally cautious with it, but
that's a very simple plugin.
I think from plugin alliance.
I think that's where it comesfrom, but anyway, I think it
comes as part of.
They've got a free pack or aload of free plugins, some of
(22:36):
which are good and some of whichI don't know why you want them,
but like um, but that thatthat's a pretty great free
plugin.
But I will lob that off the listas we've covered it and I will
put in my pla in in into numberthree super massive but yeah you
equally mentioned earlier, butwe didn't discuss.
But like super massive is hasgot to be in there really
(23:00):
Valhalla, super massive.
I mean I was saying to Markearlier like uh, I don't really
know how this works, but likeyou know, I mean it's just.
Marc Matthews (23:11):
Yeah, I don't really know how this works.
Aisle9 (23:12):
But like you know, I mean it just sounds good.
Yeah, it just sounds good,doesn't it, mate?
It's just like you know, allthese sort of I get the general
thing is, like it's got, itcreates dense sort of you know,
delays, stroke, reverbs.
I think that's the thing.
It's sort of it sits on thatweird sort of point between what
is an echo and a delay and areverb, because obviously
(23:36):
reverbs are sort of essentiallyjust dense in echoes really.
But like it's just great whenyou want something that is
massive and over-the-top andcrazy and you know you're
putting some, maybe you've gotsome effects in your track and
you just want them to go onforever or whatever.
(23:56):
You want those kind of things.
Or you want to throw on a vocalto go through it or um, you
know, I mean it can be good onleads, on guitar and that sort
of stuff.
Like um, again, I thinkautomation is quite useful with
this one so that it doesn't takeover the entire mix.
But I also like the fact thatit's got a preset that's
(24:19):
something I think it's calledfrom benson or something like
usa or something so that beingmy surname, I often choose this
reverb.
That's like got my my on it andI have no idea why, but it
sounds massive and cool and Ilike the Benson reverb setting
on it.
Marc Matthews (24:38):
You can make it an appropriation claim and just
say it's one of yours that youdeveloped for the plugin.
Aisle9 (24:43):
Yeah, I developed it, but I like it.
I think you said you use it abit, yeah.
Marc Matthews (24:48):
I've got it.
I haven't used it for a while,but it's one of those ones where
, like you said, if I want Iwould say probably more so in
breakdowns, I find Ah right,You're great for breakdowns,
yeah yeah, I like making thesekind of intricate.
Intricate might be the wrongword, but these sort of rich
soundscapes.
Aisle9 (25:16):
And I find it's really good for that.
Marc Matthews (25:17):
But again, automation, like you don't, you
don't want it all the waythrough, because then you just
have this weird depending onwhat I mean patch you use or how
you set it up.
Yeah, yeah, most notably in inlike a breakdown or maybe also
at the end of a track.
Aisle9 (25:22):
If I want to continue on um, because the feedback and
warp can make it go quite insane, and yeah you do have to watch
out.
I've sometimes stopped my trackwhat's that sound in the
background, only to find outit's, like you know, super
massive just going backgroundstill you know.
So like you do have to watchout, that it's not just taken
(25:45):
over your entire track.
I've done that we've got.
Marc Matthews (25:48):
I've got.
I've had it with Logic, whereit does when you have a track
and then you set a bus, anoutput on a track, it
automatically creates anauxiliary send if one doesn't
already exist.
So I've had instances in thepast where I've just got these
wild sends and these variousother things happening with
regards to that.
So happens a lot, happens a lot.
(26:09):
One thing I hate about Logicthat, to be fair, it's a right
pain in the ass.
You're sat there because youcan't see all your sends in one,
in one view on your monitor,and then there's something
that's just like poking out somuch, and then I'm trying to
work out why.
And it's because Logic decidedto create an additional
auxiliary send which is justlike duplicating and sending out
extra signal level.
Aisle9 (26:30):
Uh, but that's my grind on logic anyway yeah, but I get
a similar thing where, like, Icreate a send and somehow it
automatically sends the sendsout to another send.
I don't know how it roots it.
It's like roots your delay intoyour reverb and you'll be at
some point.
(26:50):
You go like that's a very weirdsound.
I didn't mean this and you getthis decay, that's sort of going
on forever as your delay sendsinto your reverb or your reverb
into your delay or somethinglike that, and then you, you
unpick it and figure out what'sgoing on.
But I mean, I, I I do thinkit's human error, but, like um,
it's easy to do because I keepdoing it.
Marc Matthews (27:11):
So you know, yeah yeah, and no matter how many
times it happens, you just ithappens again.
It happens again yeah yeah,yeah, do that all the time.
So, super massive, yes, a verygood one.
So my final, third and finalone is the Goodhertz Mid-Side
Matrix.
So this is a again, it is atool plug-in that is incredibly
(27:35):
simple.
It is in terms of its GUI, interms of its setup.
So you've got mid side encoding, decoding, and basically you
could increase, decrease the mid, or you could increase,
decrease the sides, and I findit's a fantastic tool.
I don't really use it in mixingthat much.
(27:56):
I can't remember the last timeI used it in a mix, to be honest
, unless somebody sends me astem of a group, for example if
it's drums or it's a synth groupor something like that, but
mainly in mastering.
But I find with this plugin,again, it's kind of like fresh
air.
Very rarely do I go by morethan like a 1 dB boost on the
sides.
It's very, very limited,because also with this as well,
(28:19):
if I remember rightly, becauseI've not actually seen it in
there, but I don't think thereis a gain knob on there or a mix
, a dry, dry, wet knob on there.
But one thing I've done inmastering in the in the past if,
in particular, if I've got achorus or something and I just
want to open out rear or abreakdown just slightly.
I might automate the mid-sidematrix and just have it like
(28:39):
boost by 0.5 on the sides during, uh, during a breakdown or
something like that.
Aisle9 (28:44):
But that's the times add a bit of width to the break.
Yeah, yeah, yeah.
Marc Matthews (28:47):
So you've got this focused verse and then just
a really like 0.5 boost um ofthe sides, especially if you go
the other way and do a 0.5 cutor decrease on the mids.
But usually I go with a booston the sides in the chorus just
to open it out or during thebreakdown and then then drop it
back again, and that's reallythe only times I use it, but I
do use it quite a lot for thatreason.
(29:08):
So it's a mid-side matrix,again, very simple.
Tool two I'm fairly confidentin my convictions here.
That is just two parameters ofa mid and side boost or decrease
with that one there, um.
But word of warning, just becareful, you don't for my
experience you don't want to dolike wild boosts of the size of
(29:29):
like three or four db, becausethen shit gets weird.
Always check it with a uh, whatis it?
I can't remember the name of it.
Now I use isotope uh, insightuh, to check the phase
correlation.
Can't remember what they'recalled.
No, it's gone.
Phase correlation meter.
There we go.
That's what I was looking for.
Yeah, the scope sort of.
Aisle9 (29:47):
Thing.
Marc Matthews (29:47):
Yeah, yeah, if you're going to use this
particular tool and you do makeany boosts on the sides, always
check your phase correlationbecause again shit can get weird
.
Aisle9 (29:55):
So use it with caution, but it works really well use it
with caution, but it worksreally well, are we allowed a
few honorable mentions?
Marc Matthews (30:03):
Yeah, yeah, we'll move on to honorable mentions
now.
So one of mine was supermassive, so we've been through
that.
The other one and I did anepisode on this is Vital.
Now, technically, you candownload and you have a free
subscription.
So maybe it's not technically afree plug-in.
There is a free subscriptionfor vital because you can have
(30:26):
paid subscriptions for vitalright but that would be an
honorable mention in terms ofthat's awesome, so it's amazing
synth yeah oh, yeah.
Yeah, I haven't only scratchedthe surface, but what I've seen
so far, um, I think it'sbrilliant.
And again, simplicitysimplicity.
Aisle9 (30:41):
Yeah, yeah, um, I I think that's it.
Yeah, I mean, if we go intovsts, like you know, there are
quite a few of those around um,and I mean it's tricky, isn't it
, because there are a billionand one sort of sort of you know
analog synths, sort of you knowuh out there, sort of free ones
(31:02):
, uh like vitals, like sort ofisn't vital, a um, a wavetable
synth, really isn't that?
yes, yeah, yeah so like serumsort of thing yeah um, but I
think, yeah, it stands alone insort of really, you know,
outside of a paid option likeserum.
I think it's it's one of thebest.
(31:23):
Yeah, that's really good.
Um, yeah, and I was going tomention there's a couple of sort
of things like um, well, dealsactually, where you can get free
, sort of a whole series ofthings like the weight waves I
know waves are so it can be alittle bit um divisive at
moments, but like, um, whatwaves, if you can cope with them
(31:46):
.
Being attached to the company.
Um have give you nine essentialplugins for free, which includes
vcomp and veq3, which arereally good, compressor and eq,
and like there's quite a lot ofother stuff.
You get an fn synth in therecalled flow or something you
know I mean for free.
You know I guess you have tosort of download the waves app
(32:11):
and sign up into something likethat, but like it's, you know
that's really good.
An isotope do a similar sort ofthing.
You have to have the isotopeapp, I think.
And like they've got an eq, theisotope, sort of ozone 11 eq, I
think something like that, yeahwhich is just free um, which is
a pretty high, functioning,high quality eq um.
(32:33):
They've got isotope vinyl, whichis a really cool little vinyl
sort of um plug-in, sort ofmimics vinyl record sort of
sound.
That's really good.
And they've got like the imagerwhich I use a lot, actually
just a really simple imager justto widen things out a little
bit.
Um, and the doubler as part ofthat, and the doubler is really
(32:54):
good on vocals sometimes or anysort of mono sort of source,
because you, uh, you know andand the image is good like that
because it's got a stereoizer soit can make things a bit
broader if it's a mono source.
So, yeah, you know, they'rekind of just useful tools,
aren't they?
So I I would say they're reallygreat, like those kind of
(33:16):
little things for for nothing.
And um, the chow tape was mylast one, which is uh, I've not
heard of that one before thechow is that c-h-o-w am I?
yes, c-h-o-w yeah take chow tapemodel yeah, looking at it up
now yeah, and it's quite aboring looking plug-in in some
(33:37):
ways and look sort of you knowamazing on the gui.
But like it, yeah, it does somereally kind of cool things,
from saturation to weirdwobbliness, you know, all that
kind of to sort of glitchiness,to all sorts of different tape
style effects and yeah, Ithought it was pretty good for
nothing yeah yeah, I'm lookingat it here.
Marc Matthews (33:58):
I'm going to dive into that.
It looks quite interesting.
It's one that I've not yeah,it's a reminder about isotope
vinyl as well?
I need to.
Aisle9 (34:05):
Um, yeah, they're kind of different colors, aren't they
that you, I mean, I haven't gota vinyl thing, I haven't got
tape thing that does the similartype.
Um, you know, tape emulation,um, within cubase I mean, I've
got like stuff in my door thatgoes like, you know, we'll do a
bit of tape saturation orsomething like that, but it
(34:27):
doesn't really like copy, thekind of like sort of different
uh properties of tape where itgets a bit sort of chewed and
garbled and all those sorts ofthings, which is the more lo-fi
kind of side of it, which isquite nice.
I like that kind of exploringyou can do that with vinyl,
can't you?
Marc Matthews (34:42):
you can?
There's a lo-fi kind of side ofit which is quite nice.
I like that kind of exploring.
You can?
There's a lo-fi setting withwhat, if I?
Aisle9 (34:45):
yeah, very long times since I've used it yeah, it does
some really good things likethat again great for degrading
stuff and messing it up like youhave to be a bit cautious on
these things.
If you, especially if you'reproducing something that's meant
to sound very high-fi, youmight not want to use it.
But you know, um don't want the1930s setting on the vinyl.
(35:07):
Whatever it is, I've forgottenit goes quite, it goes quite old
.
Marc Matthews (35:11):
It does, yeah, and it can get quite destructive
of so again, again, it dependswhat the sound you're going for.
But no, all very good honorablementions.
I was going to mention one, butthen I looked it up and it
turns out it's not free anymore.
So damn, yeah, there are manyplugins I've got for free and I
guess they're lost.
(35:31):
Leaders from the organizationwhich are no longer free, and it
was the baby audio comeback kiduh, yeah it's a delay plugin
but a really nice delay, isn'tit?
Aisle9 (35:40):
it it is, it is.
I forgot it actually, but yeah.
Marc Matthews (35:43):
But I managed to pick it up for free during a and
I was just double-checkingbecause I was going to mention
that, but unfortunately,audience, it's not free.
It's like $69 now.
Aisle9 (35:52):
Again, there are these ones that do come up just
sometimes, don't they you?
Marc Matthews (35:56):
add yeah.
Aisle9 (35:57):
Yeah, you had, like you know, the LA2A came up, didn't
it, and things like that.
Marc Matthews (36:03):
Yeah, I jumped on that.
It's worth.
I mean, I don't like I say thisand I've got a mailing list
myself, but I often don't likejoining mailing lists, which is
quite ironic.
But being on the UAD mailinglist is quite good for that
reason.
but being on the UAD mailinglist is quite good for that
reason because you do get theserandom campaigns where you'll
(36:26):
get a really high quality freeplugin from UAD, which, in turn,
I then went on and bought more,so it did work from a marketing
perspective for them but mostdefinitely I think it's worth to
know if you've got a particularcompany that you like their
plugins, it's probably worthbeing at least following them on
(36:48):
social media just to keep aneye out, and in watering holes
online, because people will postwhen shit's being given away
for free and jumping on that.
Aisle9 (36:56):
Yeah, I've got about four Softube plugins, which were
all just given away by softtube for free and I really like
the saturation knob, which issoft tube.
But, like then, I got a wholehost of other ones which are all
quite good, but I have to admitI just haven't really had the
time to use.
Marc Matthews (37:13):
I find that, yeah , I get all these plugins and
then I'm in a mix session andthen I just still go back to the
ones I always use.
Aisle9 (37:20):
I have that problem all the time.
Yeah, yeah, yeah 100% Cool.
Marc Matthews (37:25):
Some honourable mentions there, folks, and I
will put links to all of theplugins mentioned in this
episode in the episodedescription.
And just to say I should havesaid this right at the beginning
this episode is in no way,shape or form, sponsored by any
of the organisations pluginvendors that we've mentioned.
Aisle9 (37:41):
It is not no way, shape or form, sponsored by any of the
organizations.
What a show.
Marc Matthews (37:42):
Plugin vendors that we've mentioned.
It is not at all.
This is just our opinion.
It is an advice buffet, as itwere.
But if you have a favorite freeplugin that you use all the
time, send us a message.
Click that.
Send me a message link in theepisode description and let us
know what plugin it is.
(38:02):
It's one that uh should be inthe honorable mention list or in
the top three, and it's achallenge to you as well.
Folks listening, choose one ofthe three free plugins that
we've mentioned and use it in aproject and let us know how you
get on.
Again, you can click that linkin the episode description.
It'd be uh interesting to knowyour thoughts and opinions and
what we've mentioned, becauseyou might not agree with what
(38:22):
we've mentioned.
You know, you might not.
Um tim, thank you very much.
Aisle9 (38:27):
Always a pleasure any news anything on the horizon uh,
that is a good question.
I mean, I need to.
As soon as I've got a track out, I'm beginning to think, oh
gosh, I've got to create anotherone now so I need to.
Yeah, but I, I, as of yet, I'msort of busy working on working
with drew night actually at themoment, on a release of his, a
(38:48):
track of his which is, I think,it's going to be a great track,
so I'm really looking forward tofinishing that for him and
working on a couple of otherprojects for clients.
At the moment, like, but yeah,no, at some point there will be
some more aisle nine probably bythe time this comes out,
there'll be another, anothersingle, but like yeah, night
(39:10):
trains is the last one at themoment, but like yeah.
I'm trying to hit them every,every month really, and not not
drop any any months.
I've made it so far, I thinkthrough the year I'm trying to
do the yeah, sort of, and Idropped an album, so I'm feeling
like I've been doing all rightyeah, you do well, mate.
Marc Matthews (39:30):
Yeah, I, uh, I hit the skids a touch so I
haven't released anything sincejuly, but um, I'm hoping to pick
it up again myself.
Um, probably won't be september, I'm looking for early october
and then getting back on the uhyou've got quite a bit coming
online that doesn't involveaudio, does it?
Aisle9 (39:49):
yes, yeah indeed yeah, yeah.
Marc Matthews (39:51):
So I'm gonna be getting married in in october,
so uh that is my excuse yeah, Isay excuse it's uh it hasn't
really been stressed withTouchwood so far.
So, yeah, we'll see what happenswith music releases, but no,
folks, if you're listening tothis I don't know why I said no
then do click the link in theepisode.
(40:13):
If we do have any releases whenthis drops, I will put links to
them in the episode description.
So always check there, becausethis is recording on the 16th of
September, so between now andthe release date we might
actually get something else.
Aisle9 (40:27):
There'll be something going, tim, it's been a pleasure
.
Marc Matthews (40:30):
Thank you very much, and folks.
Aisle9 (40:31):
Oh, thank you.
Marc Matthews (40:32):
Until next time, stay inspired, keep creating and
don't be afraid to experimentinside the mix.
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