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Articles Tagged Effects

  • Wednesday, June 22, 2016
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    PSW Staff 06/22/16 11:44 AM,
    A discussion that began in the REP Recording Forum here on ProSoundWeb that’s packed with relevant/useful points and references. Question by kifaru I’ve been brought a song to record that has a part in it that requires a chorus to sing part of it. The performer told me that what he had in mind for the part was a sound like the choral parts in Bohemian Rhapsody by Queen. I’m really not sure how to achieve this sound and the… View this story
    Filed in: RecordingFeatureForumOpinionStudy HallConsolesEngineerMicrophoneProcessorSoftwareStudio

  • Monday, June 20, 2016
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    PSW Staff 06/20/16 12:30 PM,
    After their ‘difficult second album’ hit the number one spot in the UK, US, and Canada, you could say that The Lumineers have officially gone global with Cleopatra. The two-time Grammy-nominated folk trio from Colorado are currently selling out venues across the US and Europe. Mixing monitors from the side of the stage is Brad Galvin, with his DiGiCo SD5 console. The Lumineers are Wesley Schultz, Neyla Pekarek, and Jeremiah Caleb Fraites. Playing intimate, fan-friendly venues has, says Galvin, been… View this story
    Filed in: Live SoundNewsConcertConsolesDigitalMonitoringProcessorSound ReinforcementStage

  • Thursday, June 16, 2016
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    PSW Staff 06/16/16 09:41 AM,
    Pro Sound Effects has announced year-round open enrollment for its Freelancer Program. PSE created the Freelancer Program to support freelance sound designers, editors and independent media creators worldwide. Freelancers who apply and qualify become members with year-round access to savings of up to 60% on PSE sound effects libraries and software. The Hybrid Sound Effects Library , NYC Ambisonics, iZotope’s Iris 2, Soundminer, and SoundMorph’s Wave Warper are among 14 PSE-curated sound effects libraries and software programs currently available to… View this story
    Filed in: RecordingNewsBusinessEngineerSoftwareStudio

  • Wednesday, June 01, 2016
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    Bobby Owsinski 06/01/16 05:55 AM,
    This article is provided by Bobby Owsinski.   When signal processing is timed to the pulse of the track, everything in the mix sounds a lot smoother. This applies to compressors, delays, modulators, and especially reverbs. One of the questions I get a lot is, “How do you time your reverb to the track?” There’s a step by step tutorial in my Audio Mixing Bootcamp book that I’ve excepted from the Adding Reverb chapter of the book below. By the… View this story
    Filed in: RecordingFeatureBlogStudy HallDigitalDigital Audio WorkstationsEngineerProcessorSoftwareStudio

  • Wednesday, May 18, 2016
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    PSW Staff 05/18/16 03:03 PM,
    Peavey Electronics announces the immediate availability of the XR-AT powered mixer. The XR-AT powered mixer incorporates a nine-channel mixer and 1,000 Watts of power (1,500 Watts peak) into a unique, portable design. The mixer also includes Antares Auto-Tune pitch correction technology. This technology can literally help anyone sing in key and is used on professional recordings and live performances throughout the world. Ideal for use in small to medium sized venues, the feature-packed XR-AT comes equipped with on-board digital effects… View this story
    Filed in: AVNewsProductAmplifierAVMixerMonitoringProcessorSound Reinforcement

  • Friday, May 06, 2016
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    Barry Rudolph 05/06/16 06:13 AM,
    Many studios built in the 1970’s were designed not to have any acoustic influence on the recorded sound produced in them. This was accomplished by over-deadening walls, floors and ceilings so no sound waves (leakage) would reflect and add (or subtract) from the instrument’s original sound waves. Bass traps were purpose-built for controlling sound from electric bass amps, small isolated (and dead sounding) drum booths were mandatory and heavy gobos or baffles were used around all musicians separating them and… View this story
    Filed in: RecordingFeatureBlogStudy HallDigital Audio WorkstationsInstallationMeasurementSignalStudioSystem

  • Tuesday, April 26, 2016
    dynamic processing
    PSW Staff 04/26/16 05:52 AM,
    Dynamic range can be defined as the distance between the loudest possible level to the lowest possible level. For example, if a processor states that the maximum input level before distortion is +24 dBu and the output noise floor is -92 dBu, then the processor has a total dynamic range of 24 + 92 = 116 dB. However, the average dynamic range of an orchestral performance can range from - 50 dBu to +10 dBu on average. This equates to… View this story
    Filed in: Church SoundFeatureStudy HallProcessorSignalSound Reinforcement

  • Tuesday, April 19, 2016
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    Curt Taipale 04/19/16 06:09 AM,
    This article is provided by Church Soundcheck.com.   If you pay attention to sound at all, you love to hear a great echo. Think about standing next to someone at the edge of a large canyon, listening to him shout and waiting to hear the reflection off the other side of the canyon. As we stand beside him, we will first hear the sound of his voice on a path directly to our ears. Moments later, we will hear his… View this story
    Filed in: Church SoundFeatureBlogStudy HallConsolesEngineerMixerProcessorSignalSound Reinforcement

  • Wednesday, March 02, 2016
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    PSW Staff 03/02/16 10:46 AM,
    Audified announces availability of its second-generation Audiffex inValve Effects — an affordable plugin suite simulating valve processing hardware with modelling of analog circuitry and valve characteristics as part of its Hybrid Valve Series — as of March 2… Now in its second generation, Audiffex inValve Effects has history, dating back to the company’s beginnings well over a decade ago as DSound, developing its VL2 Multichannel Valve Interface plugin exclusively for TC Electronic’s proprietary Power|Core platform as a direct result of… View this story
    Filed in: RecordingNewsProductDigitalDigital Audio WorkstationsProcessorStudio

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    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



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