The Harrison team has really created something fantastic (as usual) with the MPC Channel, and it integrates really well into workflows of every level, from audiobook VO to full feature films. I’m using it on every channel! For anyone who doesn’t know, Harrison support is legendary in the major studio world. These are people who REALLY understand the high demands of feature films and TV.

For years I've had a passion for sound design and I am about to graduate with a BSEE any tips on getting a job in music technology?

@@BrunodeSouzaLino Bingo! Nearly no post house is using this plugin. Everyone are using buildin EQs and things such as fabfilter. And guess what? Most of them are running it on every channel. I am sorry but the 1500 is ridiculous. It would probably be used a lot more if it wasn't so stupidly expensive.

His presentation convinced me to Buy, he was telling the truth nothing but, the product is awesome! I am a new member of the HARRISON family. I love SSL, and Softube. I am a media company with a Software Development and Audio background, the product is very well modeled and runs well on my systems. Thank you Harrison for making this moment happen!!

Exactly. This is not a plugin for bedroom producers or even everyday recording or mixing studios.

Ah, a fellow Waves customer!

💀💀💀

Dude, for real tho hahaha

It's on sale for 99 now

​@@venericanoneyou too searched if this plugin is worth the €999 then! 🤣 Me too, to be honest.

A lot of people balk at the price and the graphics, which I totally get. But it’s honestly one of the best “everyday” plugins I have at this point. The de-esser is hands down my favorite of any I’ve used so far, the compressor is super natural sounding, and having an integrated denoiser is huge.

I heartily agree. I'm watching the Perry Mason TV series from 1957 onward and am impressed by the video and audio quality; of course many movies in the '30s and '40s were gorgeous.

It’s still $3000+ usually, even on sale!

In 1995, the Waves TDM Q10 and C1 where $600 each with only 12 instantiations at once! Want more, you would have to buy more! I bought both. In 2000, they wouldn't offer any upgrade path and left me high-n-dry.

I do remember when I purchased the full collection , almost $6,000!!! Today I have purchased the whole thing for a much lower price tag.

thank god i tried em before paying

@@axk Yeah but this is not a bundle.

There are definitely lots of different ways you can get great sound, but this plugin does make it really easy/fast...and honestly fun, too!

The only quirk I’ve found with this (and this is very subjective) is that the layout in Expand mode can be a little weird. Let me know what your guys think though, would be curious how they feel about it!

@@axk Were on lockdown and mostly working remotely from home. Though I'm the one guy in office (rebooting computers etc) but once I run into one of my supervisors who drop by every now snd then I'll bring it up. When we're running atmos projects that are hundreds of tracks wide something that lays off on the dsp, is S6 optimized and has so many different processors in a single plug would be greatly appreciated.

It sounds insanely good, just like the consoles. Totally unexplainable as to HOW, but warm, fuzzy and squeeky clean. It is like cheating!

There isn't any saturation going on in Harrison MPC Channel.

@@annekedebruyn7797 maybe, sure sounds like it. How did you test for this?

@@brainwasher3742 Outside that it makes no sense for a post production processor as it needs to be clean and fast. You can just null test it.

@@annekedebruyn7797 nope. That’s not a reliable way of checking saturation. The overtones generated when you use the compressor or de-esser won’t be detected this way. Compressors and limiters that impart colour are used in post production all the time

And this is what’s so cool about all this stuff; it’s all totally about personal preference! I love Fabfilter’s stuff, but I’m finding Harrison’s MPC fits better in my workflow personally. But especially if you’re passing sessions around between a stage and an editorial team, Fab is much more widespread!

I’m gonna get 6.

Gimme 1

Already changed out my usual Fabfilter stuff to this! RX solves some other problems that not many other tools can, so I still use that every day too, but I’m now all MPC on all my mixing work.

@@axk Awesome! Could you expand on the RX ones you use or find valuable? I found your previous Rx video very helpful.

@@axk compare to cedar? i got the cedar but this one looks cool too.

I’ll see what I can do 😈

I’ll see what I can do 😈

Sound really, really good. I have worked on the consoles, they cost hundreds of thousands, and this plugin sound the same. I am not kidding. Fab filter do not! It also just falls into place, you can't make it sound bad, so everything goes so fast and easy.

You'll make better music only if you practice more, read more books, watch more videos, and learn about mixing more, expensive plugins don't make you sound good, only your knowledge and skills do, a beginner with $5000 plugins can't get even close to what a professional can do with just stock plugins, as a beginner musician thinking that if you buy a expensive plugin will instantly make your music sound better is the absolute worst mindset you can have, if your music doesn't sound good the problem is in your lack of skill and knowledge, not your plugins.

@@kbmadethatshit6364 I think that you missunderstood my comen. What do you answer to me is what I try to tell you. The the music is from your skill and knowledge. Thanks

No. Ozone doesn't sound very good. Not when you compare it to this. This will make you work faster and worry less about sound. That might just enable you to make better music.

@@hepphepps8356 don't lead a man in the wrong direction bruh, both ozone and this are worth 0 when u dont know how to use it

@@kbmadethatshit6364 While that is correct, this is one piece of gear that actually delivers on quality and doesn't rip you off with some upgrade scheme every year. And if he needs to brighten something up, he can just grab that eq, and he will be hard pressed to mess it up, beause it sounds sooo good.

It might just be the best sounding audio kit of all time! Like the consoles with the same code was. Leagues beyond anything Neve or Manley or Tube tech imho. Someone on the thread said warm and fuzzy. And it is. But in a totally transparent(as in holographic) way.

Haha, that is actually my last name. And it kind of makes being a Knicks fan mandatory!

It sounds so good you won't bother with M/S, and saturation would feel like you destroyed something already perfect. This plugin sounds like a $400,000 console, not a $250 plug-in.

@@hepphepps8356 and you determined that from this video - or do you own and operate it??

@@RideTheFuture I have worked on the consoles and the plug-in extensively.

I would still love to have it in one single, optimized plugin with S6 support. Only the EQ and de-esser is the same, though.

@@hepphepps8356 Hey what normally priced compressor plugin would you recommend to go with the AVA Legacy Q? The AVA compressors seem kinda weird.

@@cl9826 Good question! It depends on what you want from a compressor! Traditional dynamic processing for non-linear content (i.e. Mixing music or sound to picture post production) will almost always be better with automation than a automatic plug-in. Especially now with loudness normalization in most media. If you are looking for that result but is doing something live or budget restricted to no automation, then I think the stock avid stuff or fab filter or similar do the trick ok. If you are going for non-linear, classic compression for the sake of the sound of the artifacts, like 1176, La2A,670, 160, VCA Buss compression etc., then I think you should look into something like the Plug-in alliance package, or SSL native. I would personally stay away from Waves, Slate and UAD. If I were to mention one single plug-in that nails modelling and sounds more analog, and more like the real thing than anything else, if that isolated is important, it would still be the Softube plug-in of the TubeTech CL1b.

@@hepphepps8356 Hi, thanks for the reply. Using it for VO/dialog. Which is why I was attracted to the Legacy Q since that's what it was geared towards. I've been using the Metric Halo channel strip for compession and EQ but now that Legacy has outshined the MH EQ I don't want to load up the channel strip just for compression all the time. I just found out about TDR kotelnikov compressor which I'm trying out now. Funny you say don't use Waves, I came to the same conclusion which is why I began testing new plugins before settling on the Metric Halo. I was trained to use RComp and RenEQ at my first production studio until I eventually realized Rcomp was degrading the sound.

It’s definitely aimed at the “major studio” feature stages and mixers that have been using the MPC consoles and are now on S6’s. The big takeaways for me, apart from having the MPC5 channel strip in the first place, are: How light on processing it is - I run it on every channel (upwards of 350 tracks) Integrated denoising on every channel Reliable automation - some plugins use a lot more resources than they report (like Fabfilter with all parameters enabled) and others are prone to errors in writing/reading But that being said, there are plenty of great plugins that are capable, affordable, and give you great sound!

@@axk That’s cool, and I’m sure those are all invaluable features for those who work in PP in that capacity, however, coming from a producing background, when I think of expensive plugins that justify their price point, I think of something like Oeksounds soothe 2, Oxfords line of plug-ins or Advanced AI assisted Izotope plugins

Totally. And all of those are great (Soothe is especially helpful), plus there’s always the question of “will this plugin make me more money?” (Which is more a question of how much time a particular tool will save you by using it long term) At the end of the day, the most important thing is to get the right tools for your work and be comfortable using them. While some definitely work magic, it’s far more about the person using them! Also, sounds like you’re already aware of the Oxford Inflator 😎

@@BLARSpot But it sounds so much better, man. You have it a bit upside down, you lose the need for 90% of your soothe or Izotope plugs with this. Even though it doesn't have AI, just touching "any" knob makes you feel as if it read you mind. There is just soo much experience built into it. It is like cheating. And you wok so fast, never doubtng it will sound good.

Honestly, I think this is more targeted toward major studio mixers who want their MPC5’s (or 4’s) back on Avid surfaces. It definitely sounds great and is everything I would personally want from the Harrison channel workflow at the “big league” level. That being said, you can get great results from many plugins these days. If you have a specific desire for the MPC console workflow, this is literally the same code that their consoles contained. But as I mentioned in the video, if you’re not after that specific thing, there are other great tools out there that might be better investments. I wouldn’t go so far as to say this is an elitist plugin, but it’s definitely for a very specific group of mixers that are used to (or want to have) the large format motion picture console workflows. Hope that helps!

but that includes DNS Two as well! I paid £1800 for it - absolutely worth every penny.

Dan Worrell would love to know too! 😁

@@kadiummusicBecause the console it is ported from is digital and thus software. It is much better than any console you have ever worked on.

You would stop using Gullfoss, soothe and PA-plugins if you used this plugin. You would not need them.

This plugin isn't for you. It's for TV/movie post production. Places that have spent $100k on an Avid S6, where $1500 for an all in one plugin that works well in that context saves time and works well.

it's not LIKE ridiculing people… it IS ridiculing people, and and embarrassment.

You have it completely upside down.

Hi Danny, this plugin is not marketed towards those who are just starting out, rather it is geared for the post-production industry.