Within Cinematic Rooms Professional, certain presets have developed reputations as dependable first calls which are often all the sound needs. That dependability becomes especially valuable under time pressure.�
Re-recording mixer Jasper Thorn from Pinewood Post Production shares how the Amethyst Hall preset, which loads by default when you open the plugin, has become a go-to starting point.�
🔗 Full video and article: link in bio�
#LiquidSonics #PinewoodPost #AudioPost #CinematicRoomsProfessional
Sometimes it’s all about the mood, mixing by mood! 🎛️Our FOH engineer James loves the freedom to instantly throw in or pull out effects, changing the energy and the acoustic space around us depending on the moment. 🎚️
His setup is built perfectly for this. Instead of scrambling for different knobs, he links multiple @liquidsonics.plugins effects to just one single slider on his desk (the “master send”). That’s how James reshapes the same control in real time. While the desk automation recalls the basic parameters for each song in the background, the actual feel of the mix stays completely manual. He has it all right at his fingertips. 🔥
Some of the effects sound completely wrong on their own. But when he blends them in, they create that massive, epic depth you all love at our shows! 🤘
📺 Watch the full interview with James on our YouTube channel (link in bio)!
(Note: This is a technical showcase of the tools we actually use on the road, not a paid advertisement.)
#blindguardian #audioengineering #FOH #livesound #liquidsonics
Whenever we speak with professionals working under tight deadlines, the importance of a strong presets library is often emphasised. A well-curated preset collection reduces decision friction, providing a reliable starting point that often requires only minimal adjustment, while the depth of control in plugins like Cinematic Rooms Professional and Seventh Heaven Professional means any element that isn’t quite working can be quickly refined.
Re-recording mixer Jasper Thorn and senior mix technician Fergus Pateman from Pinewood Post Production explain how LiquidSonics‘ algorithmic presets consistently deliver great results from the moment you pull them up, with the tweakability to go deeper when the mix demands it.
🔗 Full video and article: link in bio
#LiquidSonics #PinewoodPost #AudioPost #CinematicRoomsProfessional
Grammy and Emmy award-winning @greghayes_ is a Los Angeles-based recording engineer, music mixer, and owner of #soundgmh_productions_inc, who has worked on a wide range of albums across multiple genres, along with hundreds of high-profile scores for film, TV, and even Formula 1 sports broadcasts.
Recently Greg recorded the score for one of Hollywood’s highest-grossing films of 2025, Lilo & Stitch, mixed Marvel’s streaming hit Wonder Man and is fresh off the mix of Illumination and Nintendo’s The Super Mario Galaxy Movie which he also recorded over at Warner Bros.’ Eastwood Scoring Stage – but when we caught up with Greg it was with another topic in mind and one that we at LiquidSonics rarely get the opportunity to speak about with score mixers – recording jazz!
In our latest article, Greg shares how Seventh Heaven Professional became instrumental to his process when recording and mixing @terence_blanchard 's jazz ensemble score for HBO’s Perry Mason. At the last moment, plans were unexpectedly turned upside down, and the entire recording process had to be conducted under lockdown with all artists performing their contributions remotely…
🔗 Link in bio
#SeventhHeavenProfessional #LiquidSonics #ScoreMixing #PerryMason #PerryMasonHBO #terenceblanchard
In large-scale post production, speed and efficiency are essential. Recall of projects with native reverb within Pro Tools and the Avid S6 ecosystem allows mixers to move rapidly between projects and theatres in a way that was just not possible in the past.
Senior mix technician Fergus Pateman and re-recording mixer Jasper Thorn from Pinewood Post Production explain why software reverbs have become key enabling technologies for post production theatres when projects need to move between rooms and producers expect seamless playback and recall.
🔗 Full video and article: link in bio
#LiquidSonics #PinewoodPost #AudioPost #CinematicRoomsProfessional #SeventhHeavenProfessional
Not everything has to live in the console.
🔥 To get the absolute best sound for Blind Guardian, James brings his laptop and carefully selected @liquidsonics.plugins reverbs on the road. This gives him studio-quality sound right on stage, without needing a truck full of extra equipment.
Why is he choosing that way? Because he’s aiming for a level of crystal-clear quality that you rarely hear at a heavy metal show. Instead of settling for the artificial, „plastic-sounding“ tails you sometimes get with standard live gear, he uses these digital tools to make the band sound huge, natural, and real, creating the perfect acoustic space for every single instrument.
Watch the full interview with James on our YouTube channel (link in bio)!
(Note: This is a technical showcase of the tools we actually use on the road, not a paid advertisement.)
#blindguardian #audioengineering #FOH #soundengineering #liquidsonics
@pinewoodstudios ’ senior mix technician Fergus Pateman and re-recording mixer Jasper Thorn explain how Cinematic Rooms Professional’s surround editing planes allow you to precisely shape reverberation across the surround field, all within a single plugin instance, with every parameter scaling as a percentage of the master.
💡For post production workflows where speed is essential, the presets sound great straight away, but the depth of control is always there when you need it.
🔗 Full video and article: link in bio
#LiquidSonics #PinewoodPost #PostProduction #CinematicRoomsProfessional
LiquidSonics recently visited Pinewood Post Production’s newly refurbished Pressburger Theatre, sitting down with re-recording mixer Jasper Thorn and senior mix technician Fergus Pateman to learn more about how reverb is used in modern film and TV post production environments.
In this conversation, we explore the attention to detail put into building a world-class mixing space like the Pressburger Theatre, the expectations of clients who bring high-profile projects to such facilities, and the reliance audio professionals have on trusted tools in fast-moving environments, including LiquidSonics reverbs such as Cinematic Rooms Professional and Seventh Heaven Professional.
Full video and article: link in bio
#LiquidSonics #PinewoodPost #PressburgerTheatre #CinematicRooms #SeventhHeaven
A metal show obviously has to hit hard, but our FOH engineer James has a golden rule: never replace true power with volume, but give every instrument its own space.
Achieving that three-dimensional depth requires the right tools. 💡 By choosing high-quality reverb, adjusting the EQ (balancing the high and low frequencies) and central room parameters, James creates a space that feels completely natural. No pasted-on effects, just the feeling that the voice is standing right there in the room with you: crystal clear and without overpowering guitars and drums.
Want to dive deeper into the mix? Watch the full interview with James over on our YouTube channel!
(Note: This is a technical showcase of the tools we actually use on the road, not a paid advertisement.)
#blindguardian #audioengineering #FOH #livesound #liquidsonics mixingmetal sounddesign behindthescenes
Ever wondered how we craft that massive Blind Guardian atmosphere night after night? 🧙♂️🎸
Our FOH engineer, James Dunkley, will be taking you behind his console over the next few weeks to share some technical insights into the tools that shape our sound. Mixing a band with this many layers is a massive challenge, so he explains why he’s currently leaning on Liquid Sonics to get those epic vocals and drums to sit perfectly in the room, even in the biggest venues!
Pure audio engineering in action. Our friends at LiquidSonics caught up with James for an inside look at his approach to live mixing. 🎚️✨
(Note: This is a technical showcase of the tools we actually use on the road, not a paid advertisement.)
#blindguardian #audioengineering #FOH #livesound #liquidsonics
Grammy-winning engineer Dave Clauss has built his reputation mixing Latin superstars like Shakira, Carlos Vives, and Maná. His work has earned him seven Grammy wins (including five Latin Grammys) and, most recently, a 2025 Grammy for Best Latin Pop Album for Shakira’s “Las Mujeres Ya No Lloran.”
When mixing immersive audio for these projects, he relies on Seventh Heaven Professional and Cinematic Rooms Professional: “I use Seventh Heaven constantly on almost every source; the rooms and halls are simply unmatched in my opinion. Both Seventh Heaven and Cinematic Rooms have become essential in my Atmos workflow. Being able to take my stems and reverb sends then expand them into an immersive environment while perfectly preserving the original vibe and ‘weight’ of the mix is a game-changer.”
For engineers working in Atmos who seek reverb that preserves the emotional impact and sonic character of their stereo mixes, Seventh Heaven Professional and Cinematic Rooms Professional deliver the precision and depth needed for award-winning results.
🔗 Visit the links in our bio to learn more about LiquidSonics reverbs.💡
#CinematicRoomsProfessional #SeventhHeavenProfessional #LiquidSonics #ReverbPlugin
Fab Dupont is a NYC-based producer, engineer, and studio owner with multiple Latin Grammy nominations. His credits include Residente, David Crosby, and Bad Bunny, including a mix on the Grammy-winning album “DeBÍ TiRAR MáS FOToS”. For immersive projects, he relies on Cinematic Rooms Professional:
“I love the true 7.1.4 sound of Cinematic Rooms Professional. It makes for a more realistic spatialization of mono and stereo sources.”
#CinematicRoomsProfessional #LiquidSonics #ReverbPlugin #BadBunny
