Sign up for ProSoundWeb newsletters
Subscribe today!

Articles Tagged Bobby Owsinski

  • Tuesday, May 17, 2016
    image
    Bobby Owsinski 05/17/16 05:59 AM,
    This article is provided by Bobby Owsinski.   The overdubbing stage can be something as simple as fixing or replacing some of the basic tracks (like the bass, rhythm guitar, solos, and lead vocal) or as complex as adding sophisticated layering of horns and strings, multiple guitars, keyboards, and background vocals. It’s also the phase of the project during which the most experimenting is done, since even the most meticulously designed parts sometimes don’t work and require some alteration. The… View this story
    Filed in: RecordingFeatureBlogStudy HallDigitalDigital Audio WorkstationsEngineerStudio

  • Monday, May 02, 2016
    image
    Bobby Owsinski 05/02/16 05:50 AM,
    This article is provided by Bobby Owsinski.   Whenever an engineer has trouble dialing in the EQ on a track, chances are its because of one or more of the 6 trouble frequency areas. These are areas where too much or too little can cause your track to either stick out like a sore thumb, or disappear into the mix completely. Let’s take a look. 200Hz (Mud) - Too much can cause the track or the mix to sound muddy… View this story
    Filed in: RecordingFeatureBlogStudy HallDigitalDigital Audio WorkstationsEducationEngineerMonitoringSoftwareStudio

  • Monday, April 18, 2016
    image
    Bobby Owsinski 04/18/16 03:50 PM,
    This article is provided by Bobby Owsinski.   I’ve received a lot of questions lately about my opinion on some very inexpensive vintage mic clones. I love finding a great cheap mic as much as the next guy, but there are some things to watch out for before buying. I thought it might be helpful to repost the following from a few years ago. In many ways we’re in the golden age of audio gear. On the whole, inexpensive audio… View this story
    Filed in: RecordingFeatureBlogStudy HallEngineerMicrophoneStudio

  • Monday, April 04, 2016
    image
    Bobby Owsinski 04/04/16 05:46 AM,
    This article is provided by Bobby Owsinski.   Engineers that don’t work with horn players much often don’t understand the difficulties or the technique for getting a great sound. Here’s an interview with Jerry Hey, who may be the most widely recorded horn player ever, from my Studio Musician’s Handbook that explains things from the player’s point of view. I understand that you have strong feelings about how people mike your horn. I guess I have strong feelings because over… View this story
    Filed in: RecordingFeatureBlogStudy HallEngineerMicrophoneMonitoringStudio

  • Monday, March 14, 2016
    image
    Bobby Owsinski 03/14/16 10:12 AM,
    This article is provided by Bobby Owsinski.   Punchy drums are what every engineer aims for in a mix and there’s definitely a way to get there. Sometimes just using the right compressors can do the trick, but most of the time it requires some adjustment of the parameters to really get the sound you’re looking for. Here’s a few excerpts from my Mixing Engineer’s Handbook, Audio Mixing Bootcamp and Drum Recording Handbook books all culled together for an overview… View this story
    Filed in: RecordingFeatureForumStudy HallEngineerProcessorStudio

  • Wednesday, March 02, 2016
    image
    Bobby Owsinski 03/02/16 07:03 AM,
    This article is provided by Bobby Owsinski.   Like many other aspects to mixing, the use of reverb is frequently either overlooked or misunderstood. Reverb is sometimes added to a track to create width and depth, but also to dress up an otherwise boring sound. The real secret is how much to use and how to adjust its various parameters. Let’s look at some of the reasons to add reverb in this excerpt from my book, The Audio Mixing Bootcamp.… View this story
    Filed in: RecordingFeatureBlogSlideshowEngineerProcessorStudio

  • Monday, February 15, 2016
    image
    Bobby Owsinski 02/15/16 06:51 AM,
    This article is provided by Bobby Owsinski.   If you’ve never been on a real tour, it’s easy to think that they’re all like U2 or Alecia Keys, but there are actually a number of different types, categorized by their duration. This excerpt from The Touring Musician’s Handbook outlines the differences in each. Tours can be divided into six general categories of duration; local shows, one-offs, fly dates, mini-tours, full tours and corporate gigs. Let’s look each one. The Local… View this story
    Filed in: Live SoundFeatureBlogStudy HallBusinessConcertEngineerSound ReinforcementStage

  • Monday, February 01, 2016
    image
    Bobby Owsinski 02/01/16 01:54 PM,
    This article is provided by Bobby Owsinski.   Most every time I go to a concert I come with the same feeling - why did it sound so bad? I’ve posted the following a few years ago, but it’s still holds true things never seems to get much better. Concert sound reinforcement equipment is better than ever, yet we’re frequently burdened with a mess of auditory goo that just sucks the enjoyment from a live event. Unfortunately this happens much… View this story
    Filed in: Live SoundFeatureBlogStudy HallConcertEngineerSound Reinforcement

  • Wednesday, January 06, 2016
    image
    Bobby Owsinski 01/06/16 01:29 PM,
    This article is provided by Bobby Owsinski.   Here are some interesting facts about the recording methods of the Beatles and the innovations that they (mostly engineer Geoff Emerick) introduced that are commonplace today. Multi-miking drums. Until Emerick began to experiment, the drum kit was picked up by a maximum of two mics - one on kick drum and the other as an overhead above the snare. In order to get a bigger drum sound, Emerick introduced a mic on… View this story
    Filed in: RecordingFeatureBlogStudy HallEngineerMicrophoneProcessorStudio

  • Monday, December 14, 2015
    recording
    Bobby Owsinski 12/14/15 09:10 AM,
    This article is provided by Bobby Owsinski.   Perhaps the most difficult task of a mixing engineer is balancing the bass and drums (especially the bass and kick). Nothing can make or break a mix faster than how these instruments work together. It’s not uncommon for a mixer to spend hours on this balance (both level and frequency) because if the relationship isn’t correct, then the song will just never sound big and punchy. Here’s an excerpt from The Mixing… View this story
    Filed in: RecordingFeatureBlogStudy HallEngineerMicrophoneMixerProcessorSignalStudio



Audio Central