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  • Top 5 Template Tools: Warren Huart

Top 5 Template Tools: Warren Huart

Warren Huart (Aerosmith, Korn, Inglourious Basterds et al) talks us through his five essential Pro Tools mix plug-ins.

By Joe Matera

6 November 2025

English born producer and engineer Warren Huart has worked with a long list of music artists that range from the likes of Aerosmith, Korn and The Fray to James Blunt, Rick Springfield and Daniel Powter to name but a few. He also has film and television music credits to his name. These include TV series Grey’s Anatomy, Lost and Scrubs and films Inglourious Basterds and Stealth. He also hosts a popular YouTube channel called ‘Produce Like a Pro’ that has over 820,000 subscribers worldwide.

“I don’t really have much of a fixed template anymore, as I’ve found that it doesn’t take me very long to recreate one,” Huart explains to AudioTechnology. “What I will often do is create a template from the first song of an album I’m mixing. I’ll spend a lot of time getting that first track right, and then use it as a jumping off point for the rest of the record. Sometimes, I’ll even hear a particular song, open up the tracks and import a session setup from a completely different mix that I feel will take the song in the right direction. A one-size-fits-all approach doesn’t really work for me. The advantage now is that importing templates in the box is so much easier than setting up my SSL and hardware every single time, which means I can be more flexible and not tied to just one idea. If it’s a modern rock record, the drums may stay fairly consistent across tracks, so I’ll copy that over, but I’ll always try to mess with it and change it up, so every song still has its own character.”

Sitting down with Audio Technology recently, Huart talked us through his five essential Pro Tools mix plug-ins.

LIQUIDSONICS SEVENTH HEAVEN

What I love about Seventh Heaven is that it’s not just an EQ-able modern reverb, it goes far beyond that. I can literally shape the decay time for specific frequency ranges. For example, when I’m running drums, I can tighten the low end so the kick doesn’t rumble uncontrollably, shorten the top end so cymbals don’t splash all over the mix, or even extend the snare’s decay to make it bloom beautifully. The level of control is incredible. It’s honestly the most powerful and musical reverb I’ve ever used.

OEKSOUND SOOTHE2

Soothe2 is the most transparent plugin of its kind that I’ve come across. It’s essentially an intelligent dynamic EQ that reacts to problem frequencies in real time. On vocals, it’s perfect for taming multiple harsh spots at once, you can set thresholds and let it smooth out sibilance or any unwanted peaks with precision. It’s become a modern mixing standard, especially for ultra-clean vocal production. It also works brilliantly in the low end, whether you’re taming wolf tones on a double bass or controlling low-end build up on a guitar cab. It’s incredibly versatile and easily one of my most trusted tools.

T-RACKS ONE

I’ve been using T-RackS for years, particularly the Mastering Suite. There are plenty of flashy new mastering tools around, but this one has stood the test of time. I first discovered it while working with Dave Sardy back in 2001. He pulled up T-RackS on a mix for label approval, gave it a touch of compression, lifted the top and bottom a bit, and suddenly it sounded finished, almost like a mastered record, without losing its analogue warmth. Ever since, I’ve used it to create what I call my ‘fake master’ before sending mixes out for approval. It adds polish without crushing the life out of the music.

WAVES MV2

The MV2 completely changed how I mix bass. Sure, people use it on vocals too, but for bass guitars it’s a total lifesaver. When a bassist plays up the neck, things can get uneven, too boomy, too quiet, too unpredictable. The beauty of MV2 is in its simplicity: one fader lifts the quiet notes, the other, tames the loud ones. It evens everything out beautifully. I usually throw it on my bass bus or subgroup, and it just works, it’s quick, musical, and makes the low end sit perfectly in the mix.

WAVES RBASS

RBass is another essential for my low end. It defaults to 80Hz, which is right in the sweet spot for bass guitar. I like to high pass the signal going in so it doesn’t boost subsonic mud, then let RBass add that satisfying body and punch. I’ll follow it with MV2 to control the dynamics. Together they’re unbeatable, RBass fills out the tone while MV2 smooths it into place. I might add a touch of EQ at 50–60Hz for depth and around 3kHz for pick attack, but the magic really comes from that RBass + MV2 combination. It gives me a consistent, full, and defined low end every time.

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