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Articles Tagged Bobby Owsinski

  • Tuesday, July 22, 2014
    recording
    Bobby Owsinski 07/22/14 07:59 AM,
    This article is provided by Bobby Owsinski.   Ever wonder why there are so many different compressors and why they all sound different? That’s because back in the analog days there were a number of different ways to achieve compression depending upon the type of electronic building block that you used. Here’s a brief excerpt from The Mixing Engineer’s Handbook that covers the four families of compressors that we generally use today. In the days of analog hardware compressors, there… View this story
    Filed in: RecordingFeatureBlogStudy HallDigital Audio WorkstationsProcessorSoftwareStudio

  • Wednesday, July 02, 2014
    plug-ins
    Bobby Owsinski 07/02/14 01:53 PM,
    This article is provided by Bobby Owsinski.   It seems like a lot of you enjoy reading what kind of gear I like to use, as evidenced by the views for my top 10 mics, mic preamps, EQs and compressors. I’m going to continue the series with “My Top 10 Most Used Plug-Ins.” Keep in mind that I use a lot of other plugs by other manufacturers, but these are the ones that I find are used somewhere on almost… View this story
    Filed in: RecordingFeatureBlogProductDigital Audio WorkstationsEngineerProcessorSoftwareStudio

  • Monday, June 16, 2014
    recording
    Bobby Owsinski 06/16/14 01:53 PM,
    This article is provided by Bobby Owsinski.   Sometimes getting an electric guitar center is dead easy and other times getting the sound to fit into the track seems like the most difficult thing in the world. Here’s an excerpt from my Audio Recording Boot Camp book that provides an almost foolproof method for miking a guitar amplifier.——————————————— Electric guitar recording has evolved through the years, from miking the amplifier from a distance, to close miking, to using multiple mics,… View this story
    Filed in: RecordingFeatureBlogStudy HallEngineerMicrophoneSignalStudio

  • Friday, June 06, 2014
    recording
    Bobby Owsinski 06/06/14 03:54 PM,
    This article is provided by Bobby Owsinski.   Things happen in the course of a recording session. Knobs get turned, switches get flipped, plugins are bypassed and then forgotten about later, which can result in something sounding not quite right. A big problem when recording drums is phase cancellation because there are so many mics normally used. Here’s an excerpt from the 3rd edition of The Recording Engineer’s Handbook that will show you a foolproof way of avoiding electronic phase… View this story
    Filed in: RecordingFeatureBlogStudy HallConsolesDigital Audio WorkstationsEngineerMicrophoneSignalStudio

  • Monday, May 19, 2014
    recording
    Bobby Owsinski 05/19/14 12:07 PM,
    This article is provided by Bobby Owsinski.   OK, you live in an apartment or have some neighbors with sensitive ears so you can’t crank up that Marshall to get your sound. What you really need is an isolation box to keep the level from waking up the baby next door. Here’s a pretty good video on how to make a guitar amp isolation box, with some caveats. The layering technique that’s described definitely works, but I’d replace the acoustic… View this story
    Filed in: RecordingFeatureBlogStudy HallInstallationLoudspeakerMeasurementRemoteSignalStudio

  • Monday, May 05, 2014
    recording
    Bobby Owsinski 05/05/14 02:50 PM,
    This article is provided by Bobby Owsinski.   “Bassy” Bob Brockman has a wide range of awards and credits, including more than 30 Grammy nominations with two wins, and an Oscar nomination. His many credits include Mary J. Blige, Toni Braxton, Brian McKnight, Faith Hill, Korn, Christina Aguilera, P Diddy, Santana, and Sting among many others. In this excerpt from The Mixing Engineer’s Handbook 3rd edition, Bob discusses what he uses for plug-ins and his use of the mix bus… View this story
    Filed in: RecordingFeatureBlogStudy HallConsolesDigital Audio WorkstationsEngineerMixerProcessorSoftwareStudio

  • Monday, April 14, 2014
    image
    Bobby Owsinski 04/14/14 02:51 PM,
    This article is provided by Bobby Owsinski.   Reverb. It’s use goes through cycles from a lot to almost none, but you’ll usually find at least some reverb-type ambience used in every mix. The problem is that you can’t really tell much of a distinction between the different types of some inexpensive plug-ins or boxes. In case you’re a little fuzzy about the differences between the types of reverb available, here’s a little refresher excerpt from The Mixing Engineer’s Handbook… View this story
    Filed in: RecordingFeatureBlogStudy HallDigital Audio WorkstationsMeasurementProcessorSignalStudio

  • Monday, April 07, 2014
    recording
    Bobby Owsinski 04/07/14 07:20 AM,
    This article is provided by Bobby Owsinski.   One of the things that musicians, engineers and producers sometimes have trouble with is how much to charge for their time. Here’s an excerpt from The Music Producer’s Handbook that covers the pros and cons of all the alternatives. It’s aimed at producers, but just as applicable to engineers, musicians, and any professional trying to decide how much to charge. What if a local band asks you to produce them? What do… View this story
    Filed in: RecordingFeatureBlogStudy HallBusinessEngineerStudioTechnician

  • Saturday, March 22, 2014
    recording
    Bobby Owsinski 03/22/14 04:18 PM,
    This article is provided by Bobby Owsinski.   Here’s an excerpt of an interview with Elliot Scheiner from The Mixing Engineer’s Handbook. Elliot has long been recognized as one of the finest engineers working today and has a shelf full of industry awards (five Grammys, four Surround Music Awards, Surround Pioneer Award, TEC Awards Hall Of Fame and too many total award nominations to count) from his work with The Eagles, Beck, Steely Dan, Fleetwood Mac, Sting, John Fogerty, Van… View this story
    Filed in: RecordingFeatureBlogStudy HallEngineerMixerProcessorStudio

  • Friday, March 14, 2014
    image
    Bobby Owsinski 03/14/14 02:38 PM,
    This article is provided by Bobby Owsinski.   In December of 2013, a new law called the Commercial Advertisement Loudness Mitigation (CALM) Act when into full effect. The rule requires TV stations, cable operators, satellite television providers to control the audio loudness of all programs and commercials that are broadcast. The law is in response to years of complaints about commercials being much louder than program because they had been more heavily compressed. The law has some serious teeth in… View this story
    Filed in: RecordingFeatureBlogStudy HallDigital Audio WorkstationsMeasurementProcessorSoftwareStudio