Distortion can be a surprisingly useful mix effect, if you know what you're doing. Mike Senior reveals several common applications, and explains how to get the best results in practice.
Mike Senior delves into some of the most common troubleshooting tasks when dealing with acoustic guitar recordings at mixdown, and shares his own favourite processing fixes.
Mike Senior explores the subject of Haas delays at mixdown, explaining how they work, how to get the best out of them, and how to avoid the most common traps associated with them.
I've always advised my students to set their high-pass filter slope at a steep setting of 48dB per octave to reduce boominess. Is this the best advice to give my students, who are very much at the beginner stage?