Rik Simpson

There are a couple of tracks of live brass treatment, and they’re all going through the Decapitator and [Virtual Mix Rack] VMR and are edited to make them sound like a sample

The main verse vocal has the Avid Channel Strip, which is taking out some low end, an SPL TwinTube, which adds some saturation, the UBK1 compressor adding more crunch, and the UAD Fairchild 670 and SSL E Channel.

"The Abbey Road Kits sound truly vintage and authentic. Unlike a lot of drum sample based instruments they don't dominate the mix, instead leave space for the music to breathe."

"Signal’s the best way to get arpeggiated and syncopated ideas down."

"HalfTime is awesome — another great addition to the team. I’m really enjoying the rhythms and textures I’m getting from it!"

Rik Simpson endorses HalfTime on the official product webpage, giving the above quote.

Additionally, Rik Simpson appears in the "In Use By" section of the product video beginning at 2:03: https://www.youtube.com/watch?v=4Y9Tr5f1UCo&feature=youtu.be&t=2m3s

The guitars have the Soundtoys PanMan to give them some movement, and also some corrective EQ from the Pro–Q 2, and the UAD SSL E Channel strip, which is one of my go–to plug–ins, because it sounds so similar to the original SSL,

Together with another bass drum track, is sent to the ‘VOG’ track, which has the Little Labs Voice Of God, which is a great harmonic sub–synth that adds some controlled low end.

The main chorus lead vocal has the FabFilter Pro–Q 2 EQ, the Waves Rennaissance Vox, again the UBK1, two instances of the FabFilter Pro–DS de–esser, two instances of the UAD Pultec EQP–1A, and the FabFilter Pro–MB

"REV was hard to top, Output might’ve just done it tho!"

The guitars have the Soundtoys PanMan to give them some movement, and also some corrective EQ from the Pro–Q 2, and the UAD SSL E Channel strip, which is one of my go–to plug–ins, because it sounds so similar to the original SSL,

The guitars have the Soundtoys PanMan to give them some movement, and also some corrective EQ from the Pro–Q 2, and the UAD SSL E Channel strip, which is one of my go–to plug–ins, because it sounds so similar to the original SSL

There’s also an eBow guitar hook at the end of the song that has the Wavesfactory TrackSpacer plug–in, which side–chains the guitar to the vocal

There are a couple of tracks of live brass treatment, and they’re all going through the Decapitator and [Virtual Mix Rack] VMR and are edited to make them sound like a sample

The ‘KEGuyEndProphet’ track is a Prophet 12 played by Guy [Berryman] and it has an EastWest Quantum Leap Spaces reverb on it, which is one of my favourites.

I have the Pro–Q 2 and Waves L2 on the 808, and nothing on the other bass tracks.

The main verse vocal has the Avid Channel Strip, which is taking out some low end, an SPL TwinTube, which adds some saturation, the UBK1 compressor adding more crunch, and the UAD Fairchild 670 and SSL E Channel.

The main verse vocal has the Avid Channel Strip, which is taking out some low end, an SPL TwinTube, which adds some saturation, the UBK1 compressor adding more crunch, and the UAD Fairchild 670 and SSL E Channel.

The sends on chorus lead vocal go to aux tracks with the Waves H–Delay, the FXpansion Bloom with a lush, wide stereo delay, a small chamber from the QL Spaces plug–in, a mono delay from the UAD Echoplex, and several other delays

The sends on chorus lead vocal go to aux tracks with the Waves H–Delay, the FXpansion Bloom with a lush, wide stereo delay, a small chamber from the QL Spaces plug–in, a mono delay from the UAD Echoplex, and several other delays.

On the ‘@MasterNoLimiting’ track itself I have the Slate Digital FG–X saturator, which adds some glue, the Ozone 5 for some compression and the Ozone 6 using its EQ to boost low end and a bit of top end.

On the ‘@MasterNoLimiting’ track itself I have the Slate Digital FG–X saturator, which adds some glue, the Ozone 5 for some compression and the Ozone 6 using its EQ to boost low end and a bit of top end.

The bass track without a side–chain has the VMR, the UAD LA2 compressor, and the UAD Pultec EQP1A, which is fantastic.

There’s also a UAD Maag EQ4 on the ride cymbal. I love that EQ because it has a unique top end that adds some air and just opens up the sound.

One of Will’s crash cymbal tracks has a Brainworx BX_refinement to get rid of some harshness

The drum parallel has the UAD Fatso Jr.

The main chorus lead vocal has the FabFilter Pro–Q 2 EQ, the Waves Rennaissance Vox, again the UBK1, two instances of the FabFilter Pro–DS de–esser, two instances of the UAD Pultec EQP–1A, and the FabFilter Pro–MB.

The main chorus lead vocal has the FabFilter Pro–Q 2 EQ, the Waves Rennaissance Vox, again the UBK1, two instances of the FabFilter Pro–DS de–esser, two instances of the UAD Pultec EQP–1A, and the FabFilter Pro–MB

Rik Simpson appears in the "in use by" artists list at the end of the official ShaperBox 2 video, at 2:11.

Obviously the Dynamics, Limiter and EQ; they're standard first ports of call in many a studio I've worked in.

Obviously the Dynamics, Limiter and EQ; they're standard first ports of call in many a studio I've worked in.