The lessons of these people are helping me to prepare the soundtrack to the theatrical premiere, which will take place in one month: Tom Holkenborg, Alan Meyerson, Jake Jackson.

Great to see you, Jake! I always enjoyed working with you and I'm glad to see you doing so well and I loved your video.

Amazing! Thanks so much Jake

Thanks for sharing!

Yes! Finally

Loved this!

Oh this is exactly what I needed!

Thank you

Right On

thank you

Thanks !! This is amazing

THANK YOU! I love SPITFIRE. I contibue to learn from videos like this, and expermineting with the plug-in. Just fun, for my own amusement,

Very cool. If anyone is still monitoring this, I have a question. He mixes with clip gain which is fast, but clip gain is pre insert/processing so any increase or decrease affects what the inserted plugins are getting. Fader/track volume is post processing and just raises/lowers volume without changing insert levels. I'm guessing he accounts for that change in how compression and other effects change as he clip gains, but he didn't mention it so I am asking now.

Great video. Question: It seemed to me that Jake was recommending doing most of his fx as “Stem fx” (Reverb 1 a, Reverb 1B Delay 1, etc). However it looked to me that he also favored track-based Eq on many of the individual instrument tracks, as well as special delays focused on individual instrument tracks (pipes, flute) which would not be at the “1a, 1b, etc level , rather “down” at the individual instrument level. He even adds compression to subgroup of choir tracks, but not (?) at the stem level, but at the “feeder” level. Yet Jake says each stem should have a “delay” track but it seems clear that individual instruments might need a delay track. So regarding delays, saturation, and, of course EQ, does Jake also apply these at the individual track level? It seems like he does. Apologies, I do not run Pro Tools so this might be obvious.

The phase changes in the bass whenever you use any type of plug in