As stated by producer Declan Gaffney, the L2007 was used for "Get On Your Boots".

Declan Gaffney incorporated extensive master processing into his mix. Dynamic control was provided by the Waves SSL Master Bus Compressor and Massey L2007 limiter, while Waves' VEQ4 added tonal changes.

An image of the settings can be found here.

As stated by producer Declan Gaffney, the L2007 was used for "Get On Your Boots".

Declan Gaffney's go-to processing for Adam Clayton's bass involves Digidesign's Digirack EQ, Cranesong's Phoenix Dark Essence (both top) and the Massey L2007 limiter (below). The Sansamp plug-in was used to dirty up the sound for four bars.

The same plug-in was also used to master the track.

Declan Gaffney incorporated extensive master processing into his mix. Dynamic control was provided by the Waves SSL Master Bus Compressor and Massey L2007 limiter, while Waves' VEQ4 added tonal changes.

An image of the bass settings can be found here. An image of the mastering settings can be found here.

As stated by producer Declan Gaffney, the L2007 was used for "Get On Your Boots".

Declan Gaffney incorporated extensive master processing into his mix. Dynamic control was provided by the Waves SSL Master Bus Compressor and Massey L2007 limiter, while Waves' VEQ4 added tonal changes.

An image of the settings can be found here.

As stated by producer Declan Gaffney, the L2007 was used for "Get On Your Boots".

Declan Gaffney incorporated extensive master processing into his mix. Dynamic control was provided by the Waves SSL Master Bus Compressor and Massey L2007 limiter, while Waves' VEQ4 added tonal changes.

An image of the settings can be found here.

Mentioned in this May 2019 Sound on Sound interview.

Ryan Elder has learned to wring a lot out of a little, digging deeply into the software to find what he wants. "These sample libraries are extremely powerful; you can utilise basically every knob on your keyboard. A lot of them have keyswitches where you can change articulation. So, say I've got my cellos playing an arco [bowed] section, very long notes. Then, I'll use C1 to trigger the long notes. Then I need to do a short section, I'll use C#1, which triggers the short articulation. So you get a lot of power and flexibility out of these libraries by using these keyswitches and then using the mod wheel for dynamics and swells. The dynamics are important, as is the actual recording of the instruments playing [at different volumes], which makes it sound more real. The expression wheel adds a secondary dynamic layer.

"Some of [the sample libraries] are just absolutely spectacular and have a lot of the sort of textures and sounds and the ability to manipulate them in a way that is original to whatever I'm creating. In particular, some of the ones I use a lot are made by Project SAM. They have several libraries called Symphobia, which have a lot of the textures and kind of orchestral palette that I use. All the Project SAM stuff works really well together because it's all recorded on the same stage with the same mics and the same reverb and other processing, so it blends well together. Then, there's other libraries I really like — Cinematic Strings is really good for the strings; CineBrass for the brass is really good. They have a lot of the instruments and all the articulations that you would want.

"In the mix, I'll put an Altiverb [reverb] on a bus and I'll bus each individual orchestral element to a different level until it blends nicely. I use the Massey L2007 plug-in as my hard limiter for mastering. For Rick And Morty, a lot of the orchestral stuff sounds so good just right out of the sampler that I don't tend to use too much EQ on the individual instruments themselves. But if I need to make something pop, or I need a little more rosin on the bow, I tend to go to the Focusrite EQ plug-in a lot, just because I know it pretty well."