How To Ruin A Mix: Enough Already With The Cymbals
Maybe death metal engineers can get away with the constant drone of metallic hash noise, but for everyone else, please continue to read on…
Maybe death metal engineers can get away with the constant drone of metallic hash noise, but for everyone else, please continue to read on…
A case study in breaking the “golden rules” of recording – and getting away with it…
Reducing low-end accumulation issues in the room while bringing added clarity to the mix…
Inside a method the author developed for fast adjustment of a noted guitarist’s tone during the course of shows.
Workflow strategies for mixing monitors (wedges and in-ear monitors) from front of house, in addition to stage techniques to maximize monitoring success.
A front of house engineer details his console architecture in terms of busing and processing, regardless of the mixing platform.
Creating a great electric guitar sound in the mix starts with respecting the tone – it’s here where two common mistakes are made…
How do we, as FOH engineers hired to make the artist sound great, approach advice given from that artist directly?
Parallel processing, by definition, splits a signal and processes the copies separately, but there’s a sinister concern called “latency.”
Don’t be discouraged—we’ve all experienced these (and more) over the course of our careers. The key is avoiding repeats…
Have you ever heard a mix that was so naturally and transparently reinforced that you weren’t sure if a sound system was being used at all? A look at how we can translate ideas into techniques.
The author, with enough training in both fields, finds interesting comparisons between the two.
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