The Point Of No Return: Pulling Back The Reins To Attain The Desired (Sonic) Result
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.
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)
Comparing measurements to determine if a standard graphic equalizer is capable of producing the types of curves used in system optimization.
If you’re guilty of any (or all) of these, don’t worry. I am, too
Often overlooked and/or misunderstood, the real secret is how much reverb to use and how to adjust its various parameters.
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