[{"data":1,"prerenderedAt":104},["ShallowReactive",2],{"PJ3J0ctURZ":3,"6BrrIShxhM":45,"c5enUG9l2Y":83,"6dOowQKb2W":84},[4],{"product_id":5,"uid":6,"slug":7,"sku":8,"product_name":9,"display_name":9,"product_range":10,"product_type":11,"supported":12,"bundle":13,"zendesk_faq_url":14,"product_generation":15,"hardware":13,"protection":16,"category_alias":17,"buyable":12,"out_of_stock":13,"free":13,"licensable":12,"demoable":12,"current":12,"erp_skus":18,"bundle_composition":20,"details":21,"prices":38,"has_resources":12},401,"01egpchvr0exy4fe1mz32d7d5q","chorus-dimension-d","chorus-dimension-d,0","Chorus DIMENSION-D","fuse","SoftwareFX",true,false,"https://support.arturia.com/hc/sections/4405747933586",0,"ASC","software-effects",[19],"761101_Down ",[],{"baseline":22,"description":29,"display_flags":36},{"de":23,"en":24,"es":25,"fr":26,"ja":27,"zh":28},"Stereo-Funkeln - sofort!","Instant stereo shimmer","Efecto shimmer estéreo instantáneo","Une image stéréo chatoyante, instantanément.","サウンドに広がりを瞬時にもたらすステレオ・シマー","即时立体声微光",{"de":30,"en":31,"es":32,"fr":33,"zh":34,"ja":35},"Ein wunderschön cremige klingender Analog-Chorus und eine satte Stereoverbesserung auf Knopfdruck. Einfacher Bedienung, faszinierende Ergebnisse – inspiriert von einem prestigeträchtigen Studio-Klassiker. Ein so wichtiger Effekt, dass du dich fragen wirst, wie du bisher ohne ihn auskommen konntest.","Beautifully smooth analog chorus and rich stereo enhancement at the touch of a button. Simple operation, mesmerising results, inspired by a prestigious studio classic. An effect so essential, you’ll wonder how you ever mixed without it.","Un chorus analógico de una increíble suavidad y un refuerzo estéreo potente, accesibles con un solo botón. Funcionamiento sencillo, resultados fascinantes, inspirados en un prestigioso clásico de estudio. Un efecto tan esencial que te preguntarás cómo habías podido mezclar sin él.","La douceur d’un chorus analogique et une magnifique image stéréo, d’une pression sur un bouton. Un fonctionnement simple, des résultats fascinants, le tout inspiré d’un prestigieux classique des studios. Un effet tellement indispensable que vous vous demanderez comment vous avez pu mixer sans lui jusqu’alors.","只需按一下按钮，即可获得精美流畅的模拟合唱和丰富的立体声增强。操作简单，效果令人着迷，灵感来自著名的工作室经典。用过如此重要的效果之后，您会想知道没有它的时候是怎么混音的。","煌びやかでシルキーなアナログ・コーラス、そしてサウンドに空間的な広がりをもたらすステレオ感をボタン1つで生み出します。一流のスタジオに常設されている機材を基にデザインされ、シンプルな操作性と魅力的なサウンドを両方兼ね備えたたエフェクト。これがないミックスが想像できなくなってしまうほど、あなたにとって必要不可欠なエフェクトとなるでしょう。",{"featured":13,"new":13,"promo":13,"show":12,"size":37},1,[39,43],{"currency_code":40,"product_price":41,"use_override":13,"product_override_price":42},"USD",79,49,{"currency_code":44,"product_price":41,"use_override":13,"product_override_price":42},"EUR",[46,56,65,74],{"ordering":47,"id":48,"quote":49,"artist":50},99,4949,"The subtle widening of the Dimension D has always been one of my favorite effects, and Arturia nailed it.",{"id":51,"name":52,"band":53,"thumbnail_name":54,"types":55},2027,"Max Mitchell","Keyboardist / Producer","Max_Mitchell-thumb.jpg",[],{"ordering":47,"id":57,"quote":58,"artist":59},4961,"A perfect combination is the CS80 V with the Chorus Dimension D \"Glitchy Vibe\" preset on top. It's put's a modern twist on a classic synth.",{"id":60,"name":61,"band":62,"thumbnail_name":63,"types":64},2057,"Jacob Wilkinson-Smith","Producer / Recording Engineer","Jacob_Wilkinson-Smith.jpg",[],{"ordering":47,"id":66,"quote":67,"artist":68},5015,"The Chorus Dimension-D has taken its place in my mixing template and I use it on vocals, guitars and other instruments on a daily basis to give them more width when needed. By far the best chorus effect out there.",{"id":69,"name":70,"band":71,"thumbnail_name":72,"types":73},2069,"Thiago Baggio","Recording & Mixing Engineer","Thiago_Baggio-thumb.jpg",[],{"ordering":47,"id":75,"quote":76,"artist":77},5213,"Chorus DIMENSION-D, what more can I say. It sounds like the real deal with the added bonus of having a wet dry control. Absolute winner.",{"id":78,"name":79,"band":80,"thumbnail_name":81,"types":82},2108,"Cecil Bartlett","Producer / Mixer / Engineer","Cecil_Bartlett-thumb.jpg",[],[],[85,96],{"ordering":86,"id":87,"baseline":88,"text":89,"image_path":90,"url_alias":91,"title":92,"featured":12,"quote":93,"locale":94,"content":95},null,437,"The sound of change","Like many modern producers, Tim Bazell started his journey as a player. Now a\r\n                            seasoned engineer and producer on the UK circuit, it was his love of the sounds of his\r\n                            favorite records that tipped him over the edge.","/images/stories/tim-bazell/01.jpg","tim-bazell","Tim Bazell","Like many modern producers, Tim Bazell started his journey as a player. Now a seasoned engineer and producer on the UK circuit, it was his love of the sounds of his favorite records that tipped him over the edge. ","en","\u003Cdiv class=\"itemFullText  \">\u003Csection class=\"section  cover ratio-800\" style=\"background-color: white; background-image: url('https://www.arturia.com/images/stories/tim-bazell/01.jpg'); background-repeat: no-repeat; background-position: center bottom; padding-top: 10%;\">\u003C!----> \u003C!----> \u003C!----> \u003Cdiv class=\"container\">\u003Cdiv class=\"row justify-content-end align-items-center ratio-800 \">\u003Cdiv class=\"text-white hide-sm \">\u003Ch1>Tim Bazell\u003Cbr>\u003Csmall>The sound of\n                change\u003C/small>\u003C/h1>\u003C/div>\u003C/div>\u003C/div>\u003C/section> \u003Csection class=\"section bg-white\">\u003C!----> \u003C!----> \u003C!----> \u003Cdiv class=\"container\">\u003Cdiv class=\"row justify-content-center text-center \">\u003Cdiv class=\"col-8 show-sm\">\u003Ch1>Tim Bazell\u003Cbr>\u003Csmall>The sound of\n                            change\u003C/small>\u003C/h1>\u003C/div> \u003Cdiv class=\"col-12 col-md-8\">\u003Cp class=\"h3 small\">Like many modern producers, Tim Bazell started his journey as a player. Now a\n                            seasoned engineer and producer on the UK circuit, it was his love of the sounds of his\n                            favorite records that tipped him over the edge. \u003C/p> \u003Cp>We sat down with Tim at his London studio to\n                            discuss the ever-greater needs of modern producers, the fine line between hardware and\n                            software, and how he incorporates FX Collection into his process.\n\n                        \u003C/p>\u003C/div> \u003Cdiv class=\"col-12 col-md-8 my-4\">\u003Ciframe style=\"width: 100%; aspect-ratio: 16 / 9;\" src=\"https://www.youtube-nocookie.com/embed/z02Xp9K16EU?autoplay=0&controls=0&disablekb=1&playsinline=1&cc_load_policy=0&cc_lang_pref=auto&widget_referrer=https%3A%2F%2Fwww.arturia.com%2Fstories%2Ftimbazell&noCookie=true&rel=0&showinfo=0&iv_load_policy=3&modestbranding=1&color=white&enablejsapi=1&origin=https%3A%2F%2Fwww.arturia.com&widgetid=1&forigin=https%3A%2F%2Fwww.arturia.com%2Fstories%2Ftimbazell&aoriginsup=1&vf=1\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\" data-gtm-yt-inspected-17=\"true\" id=\"506015702\">\u003C/iframe>\u003C/div>\u003C/div>\u003C/div>\u003C/section> \u003Cimg src=\"https://medias.arturia.net/images/stories/tim-bazell/02.jpg\" error=\"function(){return function(){}}\" alt=\"\" class=\"img-responsive img-full-width mx-auto\"> \u003Csection class=\"section text-white bg-black\">\u003C!----> \u003C!----> \u003C!----> \u003Cdiv class=\"container\">\u003Cdiv class=\"row justify-content-center align-items-center\">\u003Cdiv class=\"col-12 col-md-4\">\u003Cimg src=\"https://medias.arturia.net/images/stories/tim-bazell/03.jpg\" error=\"function(){return function(){}}\" alt=\" \" class=\"img-responsive mx-auto my-3\">\u003C/div> \u003Cdiv class=\"col-12 col-md-8\">\u003Cp class=\"h3\">_Adapting a process\n                        \u003C/p> \u003Cp>With credits including Duffy, Roller Trio, and Shingai Shoniwa, Tim Bazell’s experience is\n                            eclectic to say the least. In audio production, it seems that diversity helps - it’s all\n                            about a deeper respect for sound, regardless of style.\n                        \u003C/p> \u003Cp>And as with many modern professions, it’s also about keeping up with technology. For Bazell,\n                            the passion for sound came first, and the engineering knowledge came afterwards - and with\n                            that, learning the tools of the trade. He notes that one of the biggest changes he’s seen is\n                            the quality of the sound of plugins.\n                        \u003C/p> \u003Cp class=\"quote boldnbig\">\"They’ve gone from being kind of an approximation - adding all sorts of\n                            problems and strange artifacts - to being almost in some cases indistinguishable from\n                            hardware.\"\u003C/p>\u003C/div>\u003C/div>\u003C/div>\u003C/section> \u003Cimg src=\"https://medias.arturia.net/images/stories/tim-bazell/04.jpg\" error=\"function(){return function(){}}\" alt=\"\" class=\"img-responsive img-full-width mx-auto\"> \u003Csection class=\"section bg-white\">\u003C!----> \u003C!----> \u003C!----> \u003Cdiv class=\"container\">\u003Cdiv class=\"row justify-content-center align-items-center\">\u003Cdiv class=\"col-12 col-md-8 \">\u003Cp class=\"h3\">_Technology, sound, art, and emotion\n                        \u003C/p> \u003Cp class=\"h3 small\">Further to this, the adjustment to working with plugins in a virtual studio\n                            environment was crucial to keeping up with modern production demands. He recalls taking\n                            photos of the settings on his studio desk to revisit the mixes later - something that sounds\n                            surreal when compared to the instant results of a modern DAW workflow.\n                        \u003C/p>\u003Cbr> \u003Cp class=\"quote boldnbig\">\"The reality now is that you have artists that need to earn money from\n                            sync, or some computer games company that needs stems from a track within 24 hours - working\n                            in the box is pretty much the only way that you can reliably do that.\"\n\n                        \u003C/p> \u003Cp>But being a producer goes far beyond technical knowhow and having a good ear. A producer has\n                            to be an emotion interpreter, a translator of what the artist is trying to say; the role of\n                            a producer is an artistic one as well as a technical one.\n                        \u003C/p> \u003Cp class=\"quote boldnbig\">“If you just do what's technically correct, you’re not making music.”\n                        \u003C/p>\u003C/div> \u003Cdiv class=\"col-12 col-md-4  \">\u003Cimg src=\"https://medias.arturia.net/images/stories/tim-bazell/05.jpg\" error=\"function(){return function(){}}\" alt=\" \" class=\"img-responsive mx-auto my-3\">\u003C/div>\u003C/div>\u003C/div>\u003C/section> \u003Cimg src=\"https://medias.arturia.net/images/stories/tim-bazell/06.jpg\" error=\"function(){return function(){}}\" alt=\"\" class=\"img-responsive img-full-width mx-auto\"> \u003Csection class=\"section bg-white\">\u003C!----> \u003C!----> \u003C!----> \u003Cdiv class=\"container\">\u003Cdiv class=\"row justify-content-center\">\u003Cdiv class=\"col-12 col-md-8 \">\u003Cp class=\"h3\">_Behind the scenes\n                        \u003C/p> \u003Cp class=\"h3 small\">We were lucky enough to sit in on a mixing session with Tim to see his process\n                            in motion, and his choice of FX Collection plugins. The subject matter: a live recording of\n                            a 3-piece rock band. With this mix, Tim wanted to retain that natural ‘alive’ feeling, while\n                            giving it the polished punch of a detailed studio recording.\n                        \u003C/p>\u003C/div>\u003C/div> \u003Cdiv class=\"row justify-content-center full-width\">\u003Cdiv class=\"col-12 col-md-4 \">\u003Ca target=\"_blank\" href=\"https://www.arturia.com/images/stories/tim-bazell/07.png\">\u003Cimg src=\"https://medias.arturia.net/images/stories/tim-bazell/07.png\" error=\"function(){return function(){}}\" alt=\"\" class=\"img-responsive mx-auto my-3\">\u003C/a> \u003Ch3>Snare - Comp VCA-65\u003C/h3> \u003Cp class=\"quote\">\n                            \"This is a model of a very nice DBX compressor that’s fantastic on drums.\"\"\n                        \u003C/p> \u003Cp>\u003C/p>\n                        Sometimes snare drums and overhead mics don’t get along. To tame any unpleasant ‘boink’ sound\n                        qualities, Tim opts for Comp VCA-65. This ensures that the snare sounds direct, punchy, and\n                        neatly tucked into the mix.\n\n                        \u003Cp>\u003C/p>\u003C/div> \u003Cdiv class=\"col-12 col-md-4 \">\u003Ca target=\"_blank\" href=\"https://www.arturia.com/images/stories/tim-bazell/08.png\">\u003Cimg src=\"https://medias.arturia.net/images/stories/tim-bazell/08.png\" error=\"function(){return function(){}}\" alt=\"\" class=\"img-responsive mx-auto my-3\">\u003C/a> \u003Ch3>Drum kit - Rev PLATE-140\n                        \u003C/h3> \u003Cp class=\"quote\">\n                            \"I don’t often use reverb on drums, but when I do, a 140 Plate is often a really wonderful\n                            place to start.\"\n                        \u003C/p> \u003Cp>\u003C/p>\n                        Setting Rev PLATE-140 to a surprisingly long 2.5 seconds actually brings energy, warmth, and a\n                        touch of mix glue - with the material quality of classic plate reverb.\n\n                        \u003Cp>\u003C/p>\u003C/div> \u003Cdiv class=\"col-12 col-md-4 \">\u003Ca target=\"_blank\" href=\"https://www.arturia.com/images/stories/tim-bazell/09.png\">\u003Cimg src=\"https://medias.arturia.net/images/stories/tim-bazell/09.png\" error=\"function(){return function(){}}\" alt=\"\" class=\"img-responsive mx-auto my-3\">\u003C/a> \u003Ch3>Guitars - Chorus DIMENSION-D\u003C/h3> \u003Cp class=\"quote\">\n                            \"The fact that there’s less symmetry in what the oscillator is doing means that the\n                            modulation responds in a more rhythmic way - which is really cool.\"\n                        \u003C/p> \u003Cp>\u003C/p>\n                        To add contrast to the guitar parts in the verse of the track, Tim opts for some modulation -\n                        Chorus DIMENSION-D. By using the newly-added Random Smoothed waveform and mode 4, he’s able to\n                        add varied movement while retaining the classic BBD color of the original hardware.\n\n                        \u003Cp>\u003C/p>\u003C/div> \u003Cdiv class=\"col-12 col-md-4 \">\u003Ca target=\"_blank\" href=\"https://www.arturia.com/images/stories/tim-bazell/10.png\">\u003Cimg src=\"https://www.arturia.com/images/stories/tim-bazell/10.png\" alt=\"\" class=\"img-responsive mx-auto my-3\">\u003Cbr>\u003C/a> \u003Ch3>Guitars - Flanger BL-20\n                        \u003C/h3> \u003Cp class=\"quote\">\n                            \"The really cool thing about the Bel Flanger is it has this Manual button on it...I love it!\"\n                        \u003C/p> \u003Cp>\u003C/p>\n                        To emphasize that pure wall-of-guitars power in the pre-chorus, Tim opts for the chunky sweeps\n                        of Flanger BL-20 - as an original Bel Flanger owner, it’s familiar modulation territory.\n\n                        \u003Cp>\u003C/p>\u003C/div> \u003Cdiv class=\"col-12 col-md-4 \">\u003Ca target=\"_blank\" href=\"https://www.arturia.com/images/stories/tim-bazell/11.png\">\u003Cimg src=\"https://www.arturia.com/images/stories/tim-bazell/11.png\" alt=\"\" class=\"img-responsive mx-auto my-3\">\u003Cbr>\u003C/a> \u003Ch3>Backing vocals - Delay ETERNITY\n                        \u003C/h3> \u003Cp class=\"quote\">\n                            \"A ridiculously advanced delay that you can do all sorts of crazy stuff with.\"\n                        \u003C/p> \u003Cp>\u003C/p>\n                        Just cycling through presets and looking for some unexpected magic, Tim spends some time\n                        experimenting with how the BVs sit in the mix - from interesting modulation to broad stereo\n                        textures.\n\n                        \u003Cp>\u003C/p>\u003C/div>\u003C/div>\u003C/div>\u003C/section> \u003Cimg src=\"https://medias.arturia.net/images/stories/tim-bazell/12.jpg\" error=\"function(){return function(){}}\" alt=\"\" class=\"img-responsive img-full-width mx-auto\"> \u003Csection class=\"section text-white\" style=\"background-color: rgb(197, 145, 6);\">\u003C!----> \u003C!----> \u003C!----> \u003Cdiv class=\"container\">\u003Cdiv class=\"row justify-content-center align-items-center\">\u003Cdiv class=\"col-12 col-md-4\">\u003Cimg src=\"https://medias.arturia.net/images/stories/tim-bazell/13.jpg\" error=\"function(){return function(){}}\" alt=\" \" class=\"img-responsive mx-auto my-3\">\u003C/div> \u003Cdiv class=\"col-12 col-md-8 \">\u003Cp class=\"h3\">Working with the music\n                        \u003C/p> \u003Cp>Seeing Tim caught up in the momentum of his creative flow, it’s clear that his process is one involving synergy. A marriage of technical experience, artistic open-mindedness, and an awareness of what his project is trying to convey. But the final test, the remaining crucial ingredient, is how a sound sits in the mix. \u003C/p> \u003Cp>For Tim, the FX Collection plugins strike a delicate balance between capturing the feel and character of classic hardware, and delivering the sonic goods under any circumstances - ensuring that everything finds its place in the mix. \u003C/p> \u003Cp class=\"quote\">\n                            “You don't need side by side tests, they sit and work with the music in the right way - and that’s what really counts!”\n                        \u003C/p>\u003C/div>\u003C/div>\u003C/div>\u003C/section>\u003C/div>",{"ordering":86,"id":97,"baseline":98,"text":99,"image_path":100,"url_alias":101,"title":102,"featured":12,"quote":99,"locale":94,"content":103},458,"Breaking down pro mixing tips with a grammy-winning engineering","Riccardo Damian is a Grammy-winning engineer and producer who’s worked with international and British artists, such as Lady Gaga, Miley Cyrus, Mark Ronson, Sam Smith, Jorja Smith, Sampha, and many more.","/images/stories/riccardo-damian/01.jpg","riccardo-damian","Riccardo Damian","\u003Cdiv class=\"itemFullText  \">\u003Cscript type=\"application/javascript\">\n    /** Add range theme to main page **/\n    document.body.classList.add('theme-fuse');\n\u003C/script> \u003Csection class=\"section\" style=\"background-image: url('https://www.arturia.com/images/stories/riccardo-damian/01.jpg');\">\u003C!----> \u003C!----> \u003C!----> \u003Cdiv class=\"container\">\u003Cdiv class=\"ratio-900 row align-items-start justify-content-start\">\u003Cdiv class=\"col-12 col-md-8 hide-sm mt-5\">\u003Ch1>Riccardo Damian\n                \u003Csmall class=\"d-block\">Breaking down pro mixing tips with a grammy-winning engineering\u003C/small>\u003C/h1>\u003C/div>\u003C/div>\u003C/div>\u003C/section> \u003Csection class=\"section bg-black text-white \">\u003C!----> \u003C!----> \u003C!----> \u003Cdiv class=\"container\">\u003Cdiv class=\"row justify-content-center text-center \">\u003Cdiv class=\"col-12 col-md-8 show-sm\">\u003Ch1>Riccardo Damian\n                \u003Csmall class=\"d-block\">Breaking down pro mixing tips with a grammy-winning engineering\u003C/small>\u003C/h1>\u003C/div> \u003Cdiv class=\"col-md-8 col-12\">\u003Cp class=\"h3 small\">Riccardo Damian is a Grammy-winning engineer and producer who’s worked with\n                international and British artists, such as Lady Gaga, Miley Cyrus, Mark Ronson, Sam Smith, Jorja Smith,\n              Sampha, and many more.\u003C/p> \u003Cp>We picked Ricky’s brains in his London home studio on how he utilizes FX\n                Collectio to reach a flawless, smooth sound in post production.\n            \u003C/p>\u003C/div> \u003Cdiv class=\"col-md-8 col-12 my-4\">\u003Ciframe style=\"width: 100%; aspect-ratio: 16 / 9;\" src=\"https://www.youtube-nocookie.com/embed/zXf6LRUvjps?autoplay=0&controls=0&disablekb=1&playsinline=1&cc_load_policy=0&cc_lang_pref=auto&widget_referrer=https%3A%2F%2Fwww.arturia.com%2Fstories%2Friccardodamian&noCookie=true&rel=0&showinfo=0&iv_load_policy=3&modestbranding=1&color=white&enablejsapi=1&origin=https%3A%2F%2Fwww.arturia.com&widgetid=1&forigin=https%3A%2F%2Fwww.arturia.com%2Fstories%2Friccardodamian&aoriginsup=1&vf=1\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\" data-gtm-yt-inspected-17=\"true\" id=\"336120017\">\u003C/iframe>\u003C/div>\u003C/div>\u003C/div>\u003C/section> \u003Cimg src=\"https://medias.arturia.net/images/stories/riccardo-damian/02.jpg\" error=\"function(){return function(){}}\" class=\"img-fluid\"> \u003Csection class=\"section bg-black text-white \">\u003C!----> \u003C!----> \u003C!----> \u003Cdiv class=\"container\">\u003Cdiv class=\"row justify-content-center align-items-center\">\u003Cdiv class=\"col-md-7 col-12\">\u003Cp class=\"h3 mt-4\">_From medieval to analog to digital\n            \u003C/p> \u003Cp>Italy is full of beautiful gems - but for Ricky, a solid analog studio was the real lottery win.\n                That’s exactly what he’s found near Treviso in northeast Italy, where he grew up:\n            \u003C/p> \u003Cp class=\"quote\">\"There’s a very beautiful private studio there, it’s like a big complex in the middle of the\n                countryside with a few control rooms and a big live room, analog desk, tape machines, a lot of Neumann\n                mics, old dbx compressors, 1176s, 78s, all beautiful and vintage. That was the first time I visited a\n                real studio.\"\n            \u003C/p> \u003Cp>Being initiated into the world of music with purely analog tools is a blessing in disguise.\n            \u003C/p> \u003Cp class=\"quote\">\"I think the benefit of growing up with analog is you have to use your tools efficiently,\n                especially when you’re using tape. You just can’t f*ck up, you know? You have to get your sound as good\n                as possible at the source, and you have to EQ, process, and compress to tape. The world of plugins is\n                amazing because at the time, I would have one 1178, that’s it. Then I think - okay, where do I use this\n                beautiful machine? What priority do I give to different elements to have it? Now I can have as many as\n                my computer handles, and that’s beautiful.\"\n            \u003C/p>\u003C/div> \u003Cdiv class=\"col-md-5 col-12\">\u003Cimg src=\"https://medias.arturia.net/images/stories/riccardo-damian/03.jpg\" error=\"function(){return function(){}}\" alt=\" \" class=\"img-responsive mx-auto my-3\">\u003C/div> \u003Cdiv class=\"col-md-5 col-12\">\u003Cimg src=\"https://medias.arturia.net/images/stories/riccardo-damian/04.jpg\" error=\"function(){return function(){}}\" alt=\" \" class=\"img-responsive mx-auto my-3\">\u003C/div> \u003Cdiv class=\"col-md-7 col-12\">\u003Cp class=\"h3 mt-4\">_Wordless dialogue\n            \u003C/p> \u003Cp>Ricky has worked with Mark Ronson for the past 8 years, starting in 2014. He shares how, over time, they\n                developed an intuitive way of communicating:\n            \u003C/p> \u003Cp class=\"quote\">\"It’s been a process, it’s been an evolution as well, I think we built together an unspoken\n                way of working. And you get to a point when you’re working with somebody for so long, you don’t even\n                talk anymore, you know what the other person wants and vice versa.\"\n            \u003C/p> \u003Cp>When it’s time to record, the two got into an efficient habit as well. They usually have a lot of gear at\n                disposal, and if they don’t, they try to recreate it. But the process stays similar - for Ricky, this\n                means walking into a room and thinking ahead:\n            \u003C/p> \u003Cp class=\"quote\">\"I know Mark’s sounds, I know what he likes and what he doesn’t like, what he’s likely to\n                want to do, regardless of the session.\"\n            \u003C/p>\u003C/div> \u003Cdiv class=\"col-md-5 col-12\">\u003Cp class=\"h3 mt-4\">_Mixer hat on\n            \u003C/p> \u003Cp>To dive deep into the power of the FX Collection, Ricky’s deconstructed a song by his band Bob and the\n                Apple.\n            \u003C/p> \u003Cp class=\"quote\">\"This is a mix I had done in 2017 that I revisited using specifically Arturia plugins, and\n                they’re great. Now, my producer hat is off and my mixer hat is on, and I think - what do I need to do to\n                make this smooth?\"\n            \u003C/p> \u003Cp>He lets us in on his mixing secrets and shares he usually begins his mixing process with drums and then\n                moves on to vocals. The drums for this track were recorded with a lot of analog processing, so he’s\n                added COMP VCA-65 on the kick and snare.\n            \u003C/p> \u003Cp>\u003C/p> \u003Cp class=\"quote\">\"The reason why I love it is that you get a really crazy attack, going pretty long with it,\n                but then also stop it with a peak stop. In a way, it just brings it all together more, and this helps me\n                control that part of the transient that I don’t really need.\"\n            \u003C/p> \u003Cp>He then splits the snare track in two, with one of them being the heavily gated attack controlled by the\n                COMP VCA-65, the other a full body snare. On the snare bottom, he usually uses a COMP FET-76 - ‘and it\n                just works.’\n            \u003C/p> \u003Cp>EQ SITRAL-295 comes into the mix too, and on the Bus where all the drums and reverbs go in, the next step\n                is\u003C/p> \u003Cp class=\"quote\">\"manipulating that with some Neve (PRE 1973), because that’s always good. I’m just helping\n                out the few frequencies that bring out the elements I want.\"\n            \u003C/p>\u003C/div> \u003Cdiv class=\"col-md-7 col-12\">\u003Cimg src=\"https://medias.arturia.net/images/stories/riccardo-damian/05.jpg\" error=\"function(){return function(){}}\" alt=\" \" class=\"img-responsive mx-auto my-3\">\u003C/div>\u003C/div>\u003C/div>\u003C/section> \u003Cimg src=\"https://medias.arturia.net/images/stories/riccardo-damian/06.jpg\" error=\"function(){return function(){}}\" class=\"img-fluid\"> \u003Csection class=\"section bg-white\">\u003C!----> \u003C!----> \u003C!----> \u003Cdiv class=\"container\">\u003Cdiv class=\"row justify-content-center align-items-center\">\u003Cdiv class=\"col-md-5 col-12  \">\u003Cimg src=\"https://medias.arturia.net/images/stories/riccardo-damian/07.jpg\" error=\"function(){return function(){}}\" alt=\" \" class=\"img-responsive mx-auto my-3\">\u003C/div> \u003Cdiv class=\"col-md-7 col-12\">\u003Cp class=\"h3 mt-4\">_Treasure chasing\n            \u003C/p> \u003Cp>FX Collection is filled with treasures, and the only thing you need to do is dive straight into it to\n                find them.\n            \u003C/p> \u003Cp class=\"quote\">\"When I want to try and get a vibe, I scroll through the presets, find something that sounds\n                great, and don’t even look at the name, it doesn’t matter.\"\n            \u003C/p> \u003Cp>In this case, it was the Drum Bus. He then always tweaks the presets afterwards.\n            \u003C/p> \u003Cp class=\"h3 mt-4\">_May the Bus FORCE be with you\n            \u003C/p> \u003Cp>Ricky then brings up Arturia’s original plugin, the Bus FORCE, a powerful parallel processor with four\n                distinct modules: Filter, EQ, Compressor, and Saturation. The culprit this time is the Extreme Pumping\n                preset.\n            \u003C/p> \u003Cp class=\"quote\">\"I go into the beautiful Bus FORCE, which is doing quite a lot: my dry pass is going\n                straight to the clipper, and the clipper is on the output, affecting the whole thing.\"\n            \u003C/p> \u003Cp>He says that for this mix, that’s perfect because the clipper serves to get rid of the transients,\n                reaching a soundscape with loudness without destroying it.\n            \u003C/p> \u003Cp>Starting with the clipper off, he then begins work on the power compressor:\n            \u003C/p> \u003Cp class=\"quote\">\"This compressor is nuts, it actually has the nuclear logo here, like it’s radioactive. You\n                can really destroy things, but in a very beautiful way.\"\n            \u003C/p> \u003Cp>To get a parallel sound, he uses the EQ and the compressor, leading to a\u003C/p> \u003Cp class=\"quote\">\"super squashy sound with a very fast attack and release. The last thing I do is listen to\n                the saturation level, which is a whole other level that you can then take a split from at every point of\n                the chain - so, it’s pretty nuts.\"\u003C/p> \u003Cp>He then finds the sweet spot with a bit of crispiness on the high end, and lastly, adds the clipper.\n            \u003C/p>\u003C/div> \u003Cdiv class=\"col-md-7 col-12\">\u003Cp class=\"h3 mt-4\">_True audio freedom\n            \u003C/p> \u003Cp>The beautiful Rev INTENSITY now enters the track:\n            \u003C/p> \u003Cp class=\"quote\">\"I just felt like I wanted to give it a little bit more of a gated reverb vibe, so it sounds\n                great. But what the Function screen does is unbelievable. You can basically have whatever wave you\n                decide to have\"\n            \u003C/p> \u003Cp>- choose from Default, Peak, Pump, Sharp Decay, Slow Rise, Step Sequencer, and Triangle - ‘and you can\n                apply that to parameters.\n            \u003C/p> \u003Cp>Ricky wanted to create a difference between the first snare, the second snare, and the beat.\n            \u003C/p> \u003Cp class=\"quote\">\"For that, I’m having more decay on the first hit and less decay on the second hit, and\n                that’s basically modulating my decay, which I think it’s f**king amazing.\"\n            \u003C/p> \u003Cp>FX Collection shines as a crossover of modern technology and audio capabilities, leading to a true\n                liberation of the mixing tools.\n            \u003C/p> \u003Cp class=\"quote\">\"You know, this is the beauty of the digital. You would never be able to do this with an\n                analog unit, or even with a digital hardware unit, unless you’re there programming and punching in -\n                it’s so easy.\"\n            \u003C/p> \u003Cp class=\"h3 mt-4\">_Slapping the bass\n            \u003C/p> \u003Cp>The next thing to adjust is the bass track, one of Ricky’s favorite things in the mix. He’s added the\n                COMP TUBE-STA,\n            \u003C/p> \u003Cp class=\"quote\">\"and honestly, this is really helping out. It felt a bit discontinued in terms of dynamics\n                and frequencies on its own, whereas as soon as you put the song on, it’s glued in.\"\n            \u003C/p>\u003C/div> \u003Cdiv class=\"col-md-5 col-12\">\u003Cimg src=\"https://medias.arturia.net/images/stories/riccardo-damian/08.jpg\" error=\"function(){return function(){}}\" alt=\" \" class=\"img-responsive mx-auto my-3\">\u003C/div> \u003Cdiv class=\"col-md-5 col-12\">\u003Cimg src=\"https://medias.arturia.net/images/stories/riccardo-damian/09.jpg\" error=\"function(){return function(){}}\" alt=\" \" class=\"img-responsive mx-auto my-3\">\u003C/div> \u003Cdiv class=\"col-md-7 col-12\">\u003Cp class=\"h3 mt-4\">_Uptown Funk\n            \u003C/p> \u003Cp>Mixing Uptown Funk was Ricky’s first gig, a feat that ultimately earned him a Grammy for ‘Record of the\n                Year’.\n            \u003C/p> \u003Cp class=\"quote\">\"I think that sound specifically is a song that came up on tour when Bruno and his band were\n                jamming. At that time, Mark and Bruno were working together a lot, in studios or live, so a song for\n                Mark was bound to happen.\"\n            \u003C/p> \u003Cp>He wouldn’t even call it a collaboration,\n            \u003C/p> \u003Cp class=\"quote\">\"it was just two great geniuses making music.\"\n            \u003C/p> \u003Cp>He described the process of the whole song as ‘very natural’ based on good musicianship, taste, and\n                sound. Ricky’s done all the drum processing for this song, recording samples with a LinnDrum and running\n                them through tape, varying the speed of it to get to a higher speed recording. Afterwards, the sound was\n                brought down to its original speed, making the sound fatter by bringing down the fundamentals and the\n                overtones.\n            \u003C/p> \u003Cp>When it comes to the structure of this composition, it’s quite simple. But when something’s right, it\n                hits the spot easily:\n            \u003C/p> \u003Cp class=\"quote\">\"Even when you dissect the multi track, there’s only a handful of things - one bass, one\n                drum kit with a bunch of samples, then there’s a bunch of guitars that Mark played. And when you put\n                Bruno Mars on top singing, you know you’re in for a treat. He’s an amazing performer, amazing singer -\n                it’s just so energetic.\"\n            \u003C/p>\u003C/div> \u003Cdiv class=\"col-md-7 col-12\">\u003Cp class=\"h3 mt-4\">_Weapons of choice\n            \u003C/p> \u003Cp>For the guitar section, PRE TRIDA was the go-to choice.\n            \u003C/p> \u003Cp class=\"quote\">\"I wanted a bit of width, a bit more shaping.’ Finding the Wide MixBus preset was ‘again,\n                one of those happy accidents. It did exactly what I needed, which was to spread it and make it brighter.\"\n            \u003C/p> \u003Cp>To add more movement, Ricky combined CHORUS DIMENSION-D and FLANGER BL-20, adding a dimension that works\n                really well in mono:\n            \u003C/p> \u003Cp class=\"quote\">\"It really makes a difference in the mix.\"\n            \u003C/p> \u003Cp>With two guitar tracks present to create the stereo sound, he used a CHORUS JUN-6 on the second one\n                instead of a flanger as that sounded too ‘metal’ for the song. Using two different plugins on the two\n                layers of the guitar track is so ‘they don’t blur in the middle.’\n            \u003C/p> \u003Cp>Another star of the show is the FILTER MINI:\n            \u003C/p> \u003Cp class=\"quote\">\"You can do amazing things with FILTER MINI, I use it for the specific Cutoff Frequency.\"\n            \u003C/p> \u003Cp>Flicking through presets like Used Speaker, Just an Env Follower, Ballad, or Beatchopper leads Ricky to\n                say:\n            \u003C/p> \u003Cp class=\"quote\">\"There’s some amazing stuff here, I really recommend it. This stuff really works, you know -\n                it gets crazy.\"\n            \u003C/p>\u003C/div> \u003Cdiv class=\"col-md-5 col-12\">\u003Cimg src=\"https://medias.arturia.net/images/stories/riccardo-damian/10.jpg\" error=\"function(){return function(){}}\" alt=\" \" class=\"img-responsive mx-auto my-3\">\u003C/div>\u003C/div>\u003C/div>\u003C/section> \u003Cimg src=\"https://medias.arturia.net/images/stories/riccardo-damian/11.jpg\" error=\"function(){return function(){}}\" class=\"img-fluid\"> \u003Csection class=\"section bg-black text-white \">\u003C!----> \u003C!----> \u003C!----> \u003Cdiv class=\"container\">\u003Cdiv class=\"row justify-content-center align-items-center mt-3 mb-2 \">\u003Cdiv class=\"col-md-5 col-12  \">\u003Cimg src=\"https://medias.arturia.net/images/stories/riccardo-damian/12.jpg\" error=\"function(){return function(){}}\" alt=\" \" class=\"img-responsive mx-automy-3\">\u003C/div> \u003Cdiv class=\"col-md-7 col-12\">\u003Cp class=\"h3 mt-4\">_A superhero’s utility belt\n            \u003C/p> \u003Cp>To deliver a high-quality mix, an engineer’s utility belt is what it all comes down to.\n            \u003C/p> \u003Cp class=\"quote\">\"The other modulation I really love to use is the MuTron PHASER BI-TRON. I don’t know how to\n                describe it, but for me, this is the most recognizable phaser ever. I love it. Chorus, phaser, flanger\n                are obviously very musical tools, but also for me, it’s a utility tool. Sometimes, you just want to\n                impose a sound, sometimes you just want to move things and create space.\"\n            \u003C/p> \u003Cp>Some bass slapping is now due again, and Ricky used the CHORUS JUN-6\n            \u003C/p> \u003Cp class=\"quote\">\"on the atmospheric bass to widen it out a little bit.\"\n            \u003C/p>\u003C/div> \u003Cdiv class=\"col-md-7 col-12\">\u003Cp class=\"h3 mt-4\">_Lay Me Down\n            \u003C/p> \u003Cp>A part of Ricky’s discography is a bonus track on Adele’s ‘25’ album, ‘Lay Me Down’. For that song, their\n                chain was a 47 going into a desk preamp with a MCI JH-500 going into an 1176, a Blackface Rev D, which\n            \u003C/p> \u003Cp class=\"quote\">\"can be harsh at times. It was working really well in containing her vocals, but it was just\n                a little too pronounced on the mids.\"\n            \u003C/p> \u003Cp>To counterbalance the mix after the 1176 applied, it was time for some warm tube sounds.\n            \u003C/p> \u003Cp class=\"quote\">\"We had the analog version of COMP TUBE-STA. Our 1176 went into this plugin and made it\n                super smooth. It’s not even about the settings, it’s just about the sound going through it.\"\n            \u003C/p> \u003Cp>With an all-powerful smooth criminal at disposal, an engineer’s workflow can blossom:\n            \u003C/p> \u003Cp class=\"quote\">\"I don’t think we even put anything else into the mix after that, and that was a big moment.\n                So when you guys came up with the plugin, I was like - sick, I love this! I’ve been using it all the\n                time.\"\n            \u003C/p>\u003C/div> \u003Cdiv class=\"col-md-5 col-12  \">\u003Cimg src=\"https://medias.arturia.net/images/stories/riccardo-damian/13.jpg\" error=\"function(){return function(){}}\" alt=\" \" class=\"img-responsive mx-auto my-3\">\u003C/div> \u003Cdiv class=\"col-md-5 col-12  \">\u003Cimg src=\"https://medias.arturia.net/images/stories/riccardo-damian/14.jpg\" error=\"function(){return function(){}}\" alt=\" \" class=\"img-responsive mx-auto my-3\">\u003C/div> \u003Cdiv class=\"col-md-7 col-12\">\u003Cp class=\"h3 mt-4\">_No peaking\n            \u003C/p> \u003Cp>To work with a mellow sound, he turned to COMP TUBE-STA again, starting with something slow:\n            \u003C/p> \u003Cp class=\"quote\">\"It just really works, I really really like that.’ After that, he used a faster compressor,\n                the COMP FET-76 to even out the peaks in the mix. ‘Sometimes, you can go super fast with it. Without\n                having to flicker between plugins, without having to open different windows, you have all the tools you\n                need in the same window, which is great.\"\n            \u003C/p> \u003Cp class=\"h3 mt-4\">_Icons of the past\n            \u003C/p> \u003Cp>FX Collection is a well-polished result of the power of emulation.\n            \u003C/p> \u003Cp class=\"quote\">\"To get to a vibey EQ, it goes without saying that the Neve (PRE 1973) is the go-to choice.\n                The preset Male Vocal fits the composition really well at this point. You can obviously experiment - if\n                you need distortion or something saturated, you can really play with it. This knob has a continuous\n                control, so you can really fine tune it. You can totally get to a comfortable level of harmonics without\n                going crazy - and that’s it!\"\n            \u003C/p>\u003C/div>\u003C/div>\u003C/div>\u003C/section> \u003Cimg src=\"https://medias.arturia.net/images/stories/riccardo-damian/15.jpg\" error=\"function(){return function(){}}\" class=\"img-fluid\"> \u003Csection class=\"section bg-white \">\u003C!----> \u003C!----> \u003C!----> \u003Cdiv class=\"container\">\u003Cdiv class=\"row justify-content-center align-items-center mt-3 mb-2 \">\u003Cdiv class=\"col-md-7 col-12\">\u003Cp class=\"h3 mt-4\">_Mixing the oldest instrument in the world\n            \u003C/p> \u003Cp>Mixing the human voice is a delicate craft, and a spectrum of choice in your tools is what ensures that\n                you get the result you want.\n            \u003C/p> \u003Cp> With DELAY TAPE-201, full-on manipulation ensues:\n            \u003C/p> \u003Cp class=\"quote\">\"The fact that you can alter the speed of the motor with the Flutter, you can make it kind\n                of lo-fi, it’s really priceless.\"\n            \u003C/p> \u003Cp> The Input Drive knob is specifically loved by Ricky for its ‘crazy color’.\n            \u003C/p> \u003Cp> The distortion spectrum on this plugin is also wild:\n            \u003C/p> \u003Cp class=\"quote\">\"You can play with the original preamp or the Germanium, or not have it at all. So there’s\n                three flavours of distortion at the actual tone of your slap, which I think is amazing.\"\n            \u003C/p> \u003Cp> The FX Collection bundle breathes through the music it touches:\n            \u003C/p> \u003Cp class=\"quote\">\"It’s alive, you know, it all interacts with each other, and being able to recreate that in\n                a box is the sh*t.\"\n            \u003C/p> \u003Cp class=\"h3 mt-4\">_What makes a good singer?\n            \u003C/p> \u003Cp>In Ricky’s words, a singer’s microphone technique is something that makes a big difference to the\n                production process.\n            \u003C/p> \u003Cp class=\"quote\">\"Adele is a true professional, she knows exactly how to be in front of the mic, and that\n                helps massively.\"\n            \u003C/p> \u003Cp>For aspiring engineers, he recommends learning what makes a good singer:\n            \u003C/p> \u003Cp class=\"quote\">\"Do they know how their voice behaves in front of the mic? Sam Smith is a master at\n                manipulating the shape of his face and knowing the relationship to the microphones to create a different\n                sound, he’s unbelievable at that. Miley’s great as well, she’s rock’n’roll you know. You almost never\n                have to suggest they got too close to the mic - they know, because they can hear it, they’ve been doing\n                this for so long. It comes with experience.\"\n            \u003C/p>\u003C/div> \u003Cdiv class=\"col-md-5 col-12  \">\u003Cimg src=\"https://medias.arturia.net/images/stories/riccardo-damian/16.jpg\" error=\"function(){return function(){}}\" alt=\" \" class=\"img-responsive mx-auto my-3\">\u003C/div> \u003Cdiv class=\"col-md-5 col-12\">\u003Cimg src=\"https://medias.arturia.net/images/stories/riccardo-damian/17.jpg\" error=\"function(){return function(){}}\" alt=\" \" class=\"img-responsive mx-auto my-3\">\u003C/div> \u003Cdiv class=\"col-md-7 col-12\">\u003Cp class=\"h3 mt-4\">_Bounce in, bounce out\n            \u003C/p> \u003Cp class=\"quote\">\"This FILTER SEM plugin, I obviously use a lot. On this track, there’s a paddy guitar there.\n                In certain situations, like in the choruses when there’s a lot of other stuff going on, I needed\n                movement, and I found the preset Random Mod. It makes the instrument more noticeable, but not throughout\n                the whole chorus, so there’s moments when it jumps out and then moments when it disappears. It creates\n                bounce, which is what I wanted. It just goes beyond. You can really go nuts with this, like a side\n                chain, so it’s really really creative.\"\n            \u003C/p> \u003Cp> The mixing then goes into the processing power:\n            \u003C/p> \u003Cp class=\"quote\">\"Again, generally, my mixing process starts with a fast compressor, which could be an SSL. I\n                really dig the COMP DIODE-609, which gives me one more layer of control, because I am simultaneously\n                using a limiter as well.\"\n            \u003C/p>\u003C/div> \u003Cdiv class=\"col-md-7 col-12\">\u003Cp class=\"h3 mt-4\">_Beautiful and broken\n            \u003C/p> \u003Cp>The right sort of broken sound in guitars is crucial to get right.\n            \u003C/p> \u003Cp class=\"quote\">\"We recorded these guitars back then, potentially with an Ampeg Scrambler pedal, which is a\n                sort of broken sound. And when I was mixing it, I felt like I needed a tiny bit more grit and edge, and\n                I know that that’s Pre V76 for me. For the combination of the actual input preamp and a little bit of\n                top end, the Crunch preset really works.\"\n            \u003C/p>\u003Cbr> \u003Cp>The mixing then goes into the processing power:\n            \u003C/p> \u003Cp>FX Collection shines as a crossover of modern technology and audio capabilities, leading to a true\n                liberation of the mixing tools.\n            \u003C/p> \u003Cp class=\"quote\">Again, generally, my mixing process starts with a fast compressor, which could be an SSL. I\n                really dig the COMP DIODE-609, which gives me one more layer of control, because I am simultaneously\n                using a limiter as well.\n            \u003C/p>\u003Cbr> \u003Cp class=\"h3 mt-4\">_Peaks and valleys\n            \u003C/p> \u003Cp>Harmonizing the bits that stand out is vital for delivering a good mix.\n            \u003C/p> \u003Cp class=\"quote\">\"I’m working on the most prominent peaks, which are drums and vocals.\"\n            \u003C/p> \u003Cp>The ratio in this mix is no crazy amount, and for now, it stays at 1.5:1, although Ricky shares he\n                sometimes selects 2:1 or 4:1, all depending on the song.\n            \u003C/p> \u003Cp class=\"quote\">\"I try and tune the settings of my mix, producing to music. It’s not about what setting it\n                is, it’s about what sounds good.\"\n            \u003C/p> \u003Cp>He then goes into the ‘beautiful’ EQ SITRAL-295.\n            \u003C/p> \u003Cp>The only thing I’m doing differently is I’m boosting 3.5. It’s good to see how this is being impacted,\n                and how you can see your filtering and stuff, I really like that.\n            \u003C/p> \u003Cp>Keeping a holistic approach while adjusting specific parameters is a fine balance.\n            \u003C/p> \u003Cp class=\"quote\">\"The Bus FORCE is the real game changer. Here, I’m actually approaching it the same way I’m\n                approaching it on my drum Bus, while being mindful of the whole mix. I start with nothing on, and then I\n                see what I need to do, and start listening to the parallel compression paths. In this case, I’m not\n                putting anything on the chain, it’s just the compressor. Lastly, I mix it in to get to a harmonic\n                crispiness.\"\n            \u003C/p>\u003C/div> \u003Cdiv class=\"col-md-5 col-12\">\u003Cimg src=\"https://medias.arturia.net/images/stories/riccardo-damian/18.jpg\" error=\"function(){return function(){}}\" alt=\" \" class=\"img-responsive mx-auto my-3\">\u003C/div> \u003Cdiv class=\"col-md-5 col-12\">\u003Cimg src=\"https://medias.arturia.net/images/stories/riccardo-damian/19.jpg\" error=\"function(){return function(){}}\" alt=\" \" class=\"img-responsive mx-auto my-3\">\u003C/div> \u003Cdiv class=\"col-md-7 col-12\">\u003Cp class=\"h3 mt-4\">_Tools in tune with the times\n            \u003C/p> \u003Cp>FX Collection goes way beyond mixing. The sky is the limit for how you can utilize it in your production\n                while being ready for the future:\n            \u003C/p> \u003Cp class=\"quote\">\"This is not just mixing tools. This is production tools, recording tools, a hundred\n                percent. It’s really important to think that way, because more and more music is transforming to a point\n                where even the multi tracks you get as a mixer are far more advanced than they would be twenty years\n                ago, even ten years ago, as technology changes so fast. So, you need to have great tools and good\n                quality sound from the get-go, and it’s not only for mixers, it’s for everyone. If you can’t do that in\n                the analog domain, do it in the digital domain - but do it right.\"\n            \u003C/p>\u003Cbr>\u003C/div>\u003C/div>\u003C/div>\u003C/section> \u003Cimg src=\"https://medias.arturia.net/images/stories/riccardo-damian/20.jpg\" error=\"function(){return function(){}}\" class=\"img-fluid\"> \u003Csection class=\"section\" style=\"background-color: rgb(121, 61, 255);\">\u003C!----> \u003C!----> \u003C!----> \u003Cdiv class=\"container\">\u003Cdiv class=\"row justify-content-center \">\u003Cdiv class=\"item-80 text-white text-center col-12  \">\u003Cp class=\"h2\">A mixing survival kit\n                \u003C/p>\u003Cp class=\"h3 small\">Being stranded on an island is not something anyone wishes for - but as a sound\n                    engineer, mixer, or producer, you would do just fine with this bundle keeping you company.\n                \u003C/p> \u003Ca target=\"_blank\" href=\"https://www.arturia.com/products/software-effects/fx-collection/overview\">\u003Cimg src=\"https://medias.arturia.net/images/stories/mark-bowen/09.png\" error=\"function(){return function(){}}\" class=\"img-responsive my-3\">\u003C/a> \u003Cdiv class=\"row justify-content-center align-items-center mt-3 mb-2 \">\u003Cdiv class=\"col-md-6 col-12\">\u003Cimg src=\"https://medias.arturia.net/images/stories/riccardo-damian/21.jpg\" error=\"function(){return function(){}}\" class=\"img-responsive mx-auto \">\u003C/div> \u003Cdiv class=\"col-md-6 col-12\">\u003Cimg src=\"https://medias.arturia.net/images/stories/riccardo-damian/22.jpg\" error=\"function(){return function(){}}\" class=\"img-responsive mx-auto my-3\">\u003C/div> \u003Cp class=\"quote\">\"The FX Collection is a Swiss army\n                        knife. It has all the colors, all the flavors and all the taste you need to do anything, from\n                        recording to production to mixing - the full spectrum. You could be on a desert island with a\n                        laptop and a pair of headphones and the FX Collection, and be fine. You wouldn’t need anything\n                        else, you wouldn’t feel you’re lacking anything.\"\n                    \u003C/p>\u003C/div>\u003C/div>\u003C/div> \u003Cdiv class=\"clr\">\u003C/div> \u003Cdiv class=\"clr\">\u003C/div>\u003C/div>\u003C/section>\u003C/div>",1779376266615]