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Addressing common confusion about compression – in the context of live sound – as processing that’s used to reduce the dynamic range of the signal.
While digital audio workstations have fundamentally changed the way we make records, proper gain structure is no less critical to good recording. Here’s a primer…
“Try thinking about which frequency ranges are most critical to the sound of each instrument, and remove what’s not as important with your channel EQ.”
Creating an accurate translation of instruments for a large experience, like the PA isn’t there and the band is playing just for the fan.
Why would anyone want to spend money on an external preamp, let alone several? Here are some reasons why…
The present state of power amplifiers, the result of decades-long design trends in delivering vastly increased power density, sophisticated DSP and much more.
There are some very interesting and helpful tools that have come onto the market over the last few years, so what’s the next big thing?
Ruminating on the topic of improving intelligibility by reducing volume inconsistencies and dealing with reverberant room acoustics versus the loss of “slam-hit eye-blinking” impact.
From the archives of the late, great Recording Engineer/Producer (RE/P) magazine comes a wealth of knowledge about reverb. (July/August 1979 issue)
