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We’re often advised to check mixes on a car stereo. But how useful is the fabled ‘car test’ in reality?
Learn to stop worrying and love your mixes with our 10‑point checklist!
Is a Beta 87A hotter than an SM58? I know there’s a difference in response curve, but how many dB hotter is it?
Will I lose signal quality using a poor quality ADAT cable?
I gather Windows 10 doesn’t support FireWire after a certain update, and I have some legacy devices that I’d like to be able to use. Are there any risks in updating?
I’ve played with ‘out of phase’ parallel compression (where the compressed signal path is polarity inverted) — but, honestly, I didn’t really understand what I was doing...
MIDI is the universal language of the studio — and if you use hardware instruments, you need to understand it!
Do your productions lack texture and movement? Your DAW’s modulation plug‑ins might offer a solution.
Is there a way to specify, to a DAW such as Pro Tools, how a note will glide to another note and over what duration of time?
My Brüel & Kjær 4006 mics have alternative black and silver capsules. Under what conditions should I consider swapping them out?
I noticed in your review of the Lewitt LCT 1040 microphone that it has a switchable 120Hz 6dB/octave high‑pass filter, for countering the proximity effect. If my mic doesn’t have this feature, can I just set up the same thing in my DAW channel EQ?
I recently rewired my studio and patched a compressor and an effects unit into my mixer’s master inserts. Both processors were set to work with +4dB signals but the levels from the processors seemed low, so I switched them to their ‑10dB positions and the levels seem healthier. Have I done the right thing?
In this occasional series of Sound Advice articles about buying gear for your studio, we'll be looking at a different piece of studio equipment and trying to help you decide if you really need it.
Do the automation features in DAW software make old‑school console automation redundant? We canvass opinions from big‑name mix engineers.
Mix engineers used to prefer hardware to software because it sounded better. Is that still true? And if not, is there still a reason to use it?
I’m seeing a lot of conflicting advice about using compression while recording. Some swear by it while others say it’s completely unnecessary with 24‑bit recording and modern converters. Where do you stand on this?
Does it matter how you deliver power to your pedalboard?
Every serious studio can make use of a high‑quality pedalboard, but putting one together that’s truly versatile requires a plan...
The waveform of an audio file looks bizarre when I load it in Adobe Audition, with a curious displacement of the audio...