Six Steps To Troubleshooting Distortion When Recording
A quick and methodical manner to track down and resolve that crazy audio that’s cracking up somewhere in your mix.
A quick and methodical manner to track down and resolve that crazy audio that’s cracking up somewhere in your mix.
Addressing common confusion about compression – in the context of live sound – as processing that’s used to reduce the dynamic range of the signal.
The value of working with and accentuating the dynamics that a band is already producing on stage.
Some brief general guidelines that can be a big help, especially for those new to the process…
Minimizing the setup down to its core, utilizing the bare essentials to get the job done efficiently and as quickly as possible.
Try these suggestions, but then try something totally different. Innovate – don’t blindly follow…
We have to be in control of the mix. We can’t become hoarders of frequencies and processors or the result is a sonic cesspool of unnecessary junk.
From the October 1986 issue of RE/P magazine, insights into the effective use of compressors and limiters in the recording realm.
Ordering the EQ workflow based on smoothing and filter bandwidth can be very effective; it’s like a painter who starts with a large brush and works toward a smaller one to achieve the desired level of detail.
Managing all of the “area” between the extremes, for each and every sound you record, is a skill that’s critical to making a good-sounding recording.
Inside a method the author developed for fast adjustment of a noted guitarist’s tone during the course of shows.
From the archives of the late, great Recording Engineer/Producer (RE/P) magazine comes a wealth of knowledge about reverb. (July/August 1979 issue)
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