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Recording Features

  • Thursday, May 24, 2012
    In the Studio: Timing Your Effects To The Song
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    Bobby Owsinski 05/24 03:57 PM,
    This article is provided by Bobby Owsinski.   Recently I posted about the six rules for adding effects to a mix, and three of the rules entailed timing your effects to the track. One of the comments I received asked about more information on just how to do that, so here it is. Timing the effects to the track means that all of the delays and reverb parameters are timed so that they match the tempo of the song so… View this story
    Filed in: Recording • Feature • Study Hall • Digital Audio Workstations • Digital • Processor • Studio

  • In The Studio: Phase—Timing Difference or Polarity?
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    Randy Coppinger 05/24 10:54 AM,
    This article is provided by the Pro Audio Files.   What Do We Mean? One of the most confusing topics in audio is phase. I think part of what makes it confusing is that people use it in reference to more than one issue. What always seems to make things clear for me: figure out precisely which aspect is the concern then focus on the part that matters. It is such an issue that I avoid using the word phase… View this story
    Filed in: Recording • Feature • Study Hall • Digital Audio Workstations • Measurement • Processor • Studio

  • Wednesday, May 23, 2012
    In the Studio: Dealing With Low-Mids And A Muddy Mix
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    Joe Gilder 05/23 09:20 AM,
    This article is provided by Home Studio Corner.   Recently I had a chance to sit in on a seminar given by Kent Morris. Kent’s a brilliant guy. He works with Peavey and focuses on training churches on sound systems and how to use them. The topic of the seminar was how to use multiple microphones in a live situation. What really captured my attention was something Kent said about EQ. He was talking about how to EQ a vocal… View this story
    Filed in: Recording • Feature • Poll • Consoles • Digital Audio Workstations • Processor • Studio

  • Tuesday, May 22, 2012
    The Studio Curmudgeon: Gain Structuring With Plug-ins
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    Daniel Keller 05/22 07:21 AM,
    In the pre-DAW era, when we had to rewind heavy two-inch multitrack tapes uphill in the snow, both ways, the concept of gain structure was fairly easy to grasp. Instead of a virtual studio-in-a-box, each individual component was a link in the audio chain, visibly connected by patch cables, and analog distortion was fairly easy to hear, identify and track down. In today’s digital world, it’s no longer that simple. Signal paths can be virtual, unconventional, and convoluted, and digital… View this story
    Filed in: Recording • Feature • Blog • Study Hall • Digital Audio Workstations • Processor • Studio

  • Wednesday, May 16, 2012
    In The Studio: Revelations In Recording & Mixing
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    Dan Comerchero 05/16 09:41 AM,
    This article is provided by the Pro Audio Files.   The ability to record and mix music is no doubt a skill and an art form. Developing it takes time, and requires many “failures,” experiments, and learning experiences. In my opinion, to truly succeed and excel in the recording industry – or any industry for that matter – you must have a craving and a passion to absorb the infinite amount of knowledge that’s out there. I wanted to give… View this story
    Filed in: Recording • Feature • Poll • Engineer • Studio

  • Monday, May 14, 2012
    In The Studio: The Latest On “Mastered For iTunes”
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    Bobby Owsinski 05/14 09:00 AM,
    This article is provided by Bobby Owsinski.   On Friday I had the pleasure of sitting in on a meeting with three representatives from Apple at Oasis Mastering, as they briefed us on the latest info on the new “Mastered for iTunes” program. While there’s already some info on the program currently available, it was good to finally get the most up-to-date details directly from the source. Here’s the gist of the program. “Mastered for iTunes” at its most basic… View this story
    Filed in: Recording • Feature • Blog • Poll • Digital Audio Workstations • Digital • Studio

  • Friday, May 11, 2012
    In The Studio: Record Great-Sounding Drums Using Only Four Tracks
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    Ward Lionel Kremer 05/11 11:31 AM,
    Here’s a simple, common-sense method to record a great-sounding drum kit on only four tracks. I’ve always been a follower of the less-is-more philosophy, and this kit technique goes all the way back to my analog 4-/8-/12-track days when track economy was a must. There have, of course, been volumes dedicated to recording “trap kits”, from only two microphones to two mics on each drum! I think the concept of a drum kit as a group of separate instruments is… View this story
    Filed in: Recording • Feature • Education • Microphone • Studio

  • The Audio Expert: Lies, Damn Lies, and Audio Gear Specs—Part 2
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    Ethan Winer 05/11 11:11 AM,
    Jonathan: “You lied first.” Jack: “No, you lied to me first.” Jonathan: “Yes, I lied to you first, but you had no knowledge I was lying. So as far as you knew, you lied to me first.” — Bounty hunter Jack Walsh (Robert De Niro) arguing with white-collar criminal Jonathan Mardukas (Charles Grodin) in the movie Midnight Run When it comes to audio fidelity, the four standard parameter categories can assess any type of audio gear. Although published product specs… View this story
    Filed in: Recording • Feature • Blog • Poll • Study Hall • Measurement • Signal • Studio

  • Thursday, May 10, 2012
    In The Studio: What Engineers Should Know About Meters
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    Bob Katz 05/10 06:10 PM,
    This article is the second part in a series on decibels, excerpted from Bob Katz’s book Mastering Audio: The Art and The Science. The first part is available here, and be sure to check out all our videos featuring Bob Katz. We Won’t Get Fooled Again. Recording engineers rely heavily on their favorite meter, and this is not intended to change people’s favorite. But as practicing engineers, it is prudent to learn the defects and virtues of each meter we… View this story
    Filed in: Recording • Feature • Poll • Study Hall • Analog • Audio • Education • Monitoring • Studio • System • Technician

  • Wednesday, May 09, 2012
    In The Studio: Top Ways To Help Musicians Hear Themselves
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    Bruce A. Miller 05/09 04:41 PM,
    This article is provided by BAMaudioschool.com.   I’m often heard saying that the recording engineer’s job is to create an environment conducive to musical creativity and then capture that creativity. Headphones are usually the only way that a musician will be able to hear themselves and (more importantly) how what they are playing works with the rest of the band. Every musician will (eventually) ask to hear themselves much louder than everyone else. This makes sense as it will allow… View this story
    Filed in: Recording • Feature • Poll • Audio • Education • Monitoring • Studio • System