TEL AVIV, ISRAEL, October 11, 2013 — Waves Audio is marking its debut presence at Amsterdam Dance Event (ADE) with The Art of the Mix, a four-day series of in-depth production sessions featuring Dave Audé and Omid 16B. Each presenter will open up some of their biggest tracks and reveal the inside secrets of their mixing and mastering techniques. In between sessions, Yoni Leviatan of Waves will be demoing the Element synth and giving visitors a chance to play it themselves. They will be making daily presentations at Jimmy Woo on October 16 through October 19 (12:00 noon – 7:00 p.m.).
Dave Audé is a GRAMMY®-nominated Producer and DJ with 90 #1 Billboard Hot Dance Singles and counting. Audé is widely recognized as the go-to remixer for chart-topping artists such as Rihanna, Madonna, Coldplay, Selena Gomez, Chris Brown, U2, Leann Rimes and many, many more. He has written and produced seven of his own #1 Billboard Hot Dance Singles, most recently “Hold Me,” a collaboration with Yoko Ono. Audé produces out of his Studio City-based Audacious Studio and runs his own independent label, Audacious Records.
Says Audé: “In the 90s, I bought my very first Waves plugin, the L1 Ultramaximizer, which totally revolutionized CD levels! I’ve been using Waves ever since I’ve been professionally producing music. My favorite Waves tools are the Jack Joseph Puig Signature Series, which I use mostly on synths that need some shaping; Chris Lord-Alge Signature Series on vocals and drums; the L2 Ultramaximizer on the entire mix; Trans-X mostly on drums; MaxxVolume, which I use once in a while to give things a different effect; the Tony Maserati Signature Series mostly on drums and bass; the C6 Multiband Compressor on strings and pads; SSL G-Equalizer on everything; the SSL E-Channel mostly on vocal; and for everything that needs delay, I always go for the H-Delay Hybrid Delay. Waves is a big part of my success and I couldn’t imagine making a record without them!”
16B or Omid 16B (real name Omid Nourizadeh) is a British-Iranian electronic music producer/composer and DJ based in London. He has produced remixes for artists including Gus Gus, The Cure, Steve Lawler, Francois Kevorkian, Lana Del Rey, John Creamer and Stephane K, just to name a few. He released several singles of his own on his labels Alola, Disclosure and SexOnWax, in addition to well-established labels and brands worldwide. His first album, Sounds From Another Room on Sven Vath’s Eye Q label, his second album How to Live 100 Years on Hooj Choons and the third album “Like 3 Ears and 1 Eye” on SexOnWax have all received critical acclaim.
Omid 16B says: ”I have been using Waves plugins since the early part of 2000. I have many go-to Waves plugins. First, there is the Aphex Vintage Aural Exciter – the emphasis it can give certain sounds is only something I have heard with high-end hardware. It really places your instruments where you want them in the mix. It is especially useful for bringing things to the front for the ‘WOW’ factor on leads and percussion, and bringing your vocals to the forefront of the mix. The CLA-2A Compressor is smooth and punchy and a MUST on bass sounds; great at adding the weight you need in a mix. It’s hard to sound bad with this plugin! Then there is Waves Center, which I don’t use in the conventional manner, but as a priceless sound design tool. I specifically use it on synth pads. I isolate the center and sides, bypassing each one, bouncing the two down individually while applying effects differently to the two parts, creating even more interesting sounds. Also it’s brilliant at manipulating the stereo image of a sound, making it narrower. I have used hardware and other third-party software variants of the SSL plugins, and the Waves SSL 4000 Collection have great filters and are the best for achieving tight, warm, punchy mixes. They are preloaded in my Ableton template so I have my own SSL desk in the box as a default. Vocal Rider does what it says on the package just fine, but it works magic on a multitude of signals, especially useful on lead sounds that involve plenty of automation like Cutoff and Resonance. When filters are being opened, the sound can really jump in volume, and so drawing in and even recording automation data is extremely time-consuming. Vocal Rider, together with the correct thresholds, provides better results. I use API 560 on strings, since something about this 1967 classic tames strings and gets them to sit perfectly in the mix. It smooths and sculpts the signal in a way that no other EQ plugin does. It is great for randomizing and manipulating loops. Draw a pattern on a loop, and you’ll be amazed how hard it is to make it sound bad. I use the NLS Non-Linear Summer, which models multiple channel strips of the three legendary consoles. You don’t have to load these up manually, picking channels one, two, three, etc.; you can make them load in order so each channel strip is different. Finally, I use the Puigtec EQP-1A as a staple for adding ‘beef’ to kick drums, and also as a great EQ to use after a compressor to get back some of the bass you may have lost in processing.”
Address: Korte Leidsedwarsstraat 18, 1017 RC Amsterdam, Netherlands
October 16 to October 19th
12:00 noon – 7:00 p.m. daily.
*Omid 16B will be headlining at Stanis Rotonde, Stanislavski: October 19, 2013, 12:00 a.m. – 5:00 a.m.
Visit www.waves.com for more information.