HOLLYWOOD, CALIFORNIA: Chicago Music Library has over 60,000 tracks ready to license, and it services all the major television and movie studios, and ad agencies in Hollywood, New York, and (of course!) Chicago, and in over sixty countries worldwide. With over 10,000 European Classical Orchestral Master recordings, the Chicago Music Library also has one of the world’s largest catalogs of classical music. It’s team of composers and engineers is constantly producing new tracks, and they rely on Metric Halo ChannelStrip to give the tracks a professional polish using an intuitive interface that makes it easy to get the right sound quickly and intuitively.
“I use ChannelStrip every single day because it has a solid sound and everything I need, set up in exactly the right way,” said Robert J. Walsh, executive music producer for the Chicago Music Library. Walsh was the original composer and music producer for all the old Marvel Animation television series and features for 1982-1988, including Spiderman, Transformers, GI Joe, My Little Pony, Jem, Robotix, X-Men, Defenders of the Earth, Muppet Babies, and many others. Prior to that, Rob was the Warner Bros Animation composer from 1979-1982 (those old Bugs Bunny Movies!) and then helped Stan Lee and Friz Freleng with a lot of animation scoring for TV and the Internet. Clearly, Walsh knows how to compose and produce music that serves its purpose without calling attention to itself.
He continued: “Metric Halo ChannelStrip has a ‘sound,’ and it’s the kind of sound that gives a track a well-defined heft. Like a great hardware unit, it enables us to dial in exactly what we need quickly, without a lot of fuss. For example, the equalizer bands are easy to work with and give noticeable results with even a small boost or cut. I also use the compressor and limiter a lot and the controls are similarly responsive. But it goes a bit beyond the standard grab and dial routine somehow.
The Chicago Music Library team recently acquired the rest of Metric Halo’s plug-ins via the Production Bundle and is becoming acquainted with Dirty Delay, HaloVerb, Precision DeEsser, TransientControl, Character (signal path modeling), and more. “I’ve already had a chance to use Metric Halo Dirty Delay quite a lot,” Walsh said. “I love the extra layer of edge and distortion that it has – it really puts things in a unique sonic space and gives a track personality. Like ChannelStrip, Dirty Delay’s interface is amazing.”
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