Andrew Huang

In a reply to my tweet: "just started using serum and I love it. I like the presets a lot more but so far I find massive to be more versatile"

Developed by Huang. A Lego sample from the pack was repurposed for a bubble sound in "Sparkle Mountain", as mentioned in the track breakdown at 9:02.

Andrew states that he thinks Phase Plant is the "best and most versatile soft synth ever." He can be seen using it in various other videos, such as this October 26, 2020 video at 6:28, but it is featured in this one from November 12, 2020. The video also announced the release of Polychrome, Huang's preset pack for kiloHearts' Phase Plant and Multipass.

Visible in this October 26, 2020 video at 7:24.

From Andrew's blog post about special pug ins, where he illustrates the tools he uses for specific tasks in production. "There are a lot of vocoders out there, but this one has a beautiful tone and unmistakable crunchy edge, like if Stevie Wonder was a Speak & Spell. You can hear it on the bridge of my song "Desolation" (and you can compare it with the other very normal vocoder that also punctuates that song)."

Two instances of Trackspacer are used on the bass of "Sparkle Mountain", as described in the project breakdown at 1:30.

Used on “Summertime Feeling”. Huang demos the plugin in this May 23, 2020 Waves video.

Developed in collaboration with Wenzl McGowen and Michael Wilbur. The creation process is documented in videos released January 28, 2020 and February 22, 2020.

Footnoted at the bottom of this blog post on home mastering are four more plugins Andrew uses, but doesn't swear by. About the Multiband, Andrew says, "For the type of song where I want something a little more drastic - forceful pumping bass, aggressive cutting highs - I'll add this to the beginning of the chain and tweak one of the many usable presets."

Another plug in Andrew mentions in his home mastering blog post. "For simpler material where loudness is more important than dynamics - sparse hip-hop beats, driving dance tracks - I'll use this instead of the Precision Maximizer. You can push stuff quite far without the audio breaking up."

From Andrew's blog post about special pug ins, where he illustrates the tools he uses for specific tasks in production. "If something, anything, needs to sound FATTER, slap this on. Never fails."

From Andrew's blog post outlining his plug in staples. "It's kind of seen as an 'eighties' verb, but that doesn't give it enough credit. While you can definitely get those big digital washes on drums and vocals, there's a lot of flexibility in this plug-in to dial in lush spaces that sit beautifully in a mix."

From Andrew's blog post outlining his plug in staples. "Aside from the occasions when I'll choose to get really fussy with a convolution reverb, this is the plug-in I pull up when I'm looking for realistic-sounding large spaces. Before getting the 224, I had RVerb on a return track in my default project template because I knew I'd always end up putting it on something."

From Andrew's blog post outlining his plug in staples. "I like Massive because I know I can load it up whether I'm going after a twinkly bell, a soothing pad, or a dubstep wobble. The drag-and-drop modulation assignment makes so much more sense to my brain than disconnected knobs with drop-down menus. And as the name suggests, there's a ton to explore in this synth. You can get lost in all the tabs, or even in the sheer number of presets. But it's worth it!"

From Andrew's blog post outlining his plug in staples and soft synths. "And Reaktor is perhaps a cheat of an answer, because it encompasses so many cool synths and effects that have been built for it. Some of the official NI ones are fantastic: Razor, Monark, The Finger. But the user library is amazing as well - you can get thousands of homemade plug-ins for free."

"The next thing in the chain is probably the hardest to replace. It's really a magical plugin that does a lot of things to the signal. It's from Waves and Tony Maserati. It's called the Maserati VX1. This thing is a great compressor and then there's optional EQ, reverb and delay and it just makes vocals pop."

One of five plugins featured in this July 20, 2020 video, at 0:46.

So I'm going to start by talking about my latest obsession. I just discovered this plugin a few months ago and I've been putting it on everything: Gullfoss by Soundtheory. This is, like, just a magical plugin; it brings out a lot of clarity and detail, it tames things that are too harsh... So let me play a quick example. (...) Gullfoss is on the master channel by the way. (...) I find this almost every time I use Gullfoss. I feel like I've got a mix pretty good mix going and then I throw it on the 2 buss and it's like "wow! That's way better."

One of five plugins featured in this July 20, 2020 video, at 5:28.

One of five plugins featured in this July 20, 2020 video, at 6:05.

One of five plugins featured in this July 20, 2020 video, at 7:42.

Featured in the project breakdown of "Sparkle Mountain" at 0:43.

Used for Pusher's synth solo in "Sparkle Mountain", as shown in the project breakdown at 7:43.

Seen up close in this October 26, 2020 video at 7:18. Also from this video This is exactly how I process vocals:

"And finally, last in our chain we have FabFilter Pro-Q 2. I'm just doin' a low cut, you can do this with any EQ, but I like the workflow with this one a lot. You can just click anywhere to add new points. Each one's a different color, which is nice. Lot of curves to select from. There's graphical feedback of any audio that's passing through it. I've got this dropping off around 95 Hz, but you'll just want to adjust this based on what the lowest note in your song is."

Used for effects send E in "Autoharp", as shown in this March 25, 2020 video at 9:39.

Developed by Huang over the course of many years.

So Flip is essentially a mobile DAW for sample-based music making and my main goal with creating it was to streamline the sampling workflow.

Created by Huang. He hosts the course in bimonthly cycles.

Featured in this November 5, 2018 video at 4:22.

Used on "Living", as shown in this July 11, 2019 video at 16:53.

Used for the bass drum on "Living", as shown in this July 11, 2019 video at 15:43.

Visible in this December 18, 2019 video at 21:38.