Engineering Bass Guitars Live
They form the foundation of most bands, but getting them right can be tricky. We explore the many ways to deal with bass guitars on stage.
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They form the foundation of most bands, but getting them right can be tricky. We explore the many ways to deal with bass guitars on stage.
Engineer Brian Humphries tells the story of recording Pink Floyd’s nine-part lamentation to their lost colleague, Syd Barrett.
Cubase’s Track Lanes system is great for speedy comping, but Track Versions brings plenty more to the party...
In search of reality, Leonard Cohen convinced his producer Patrick Leonard to abandon his hang-ups about using sampled instruments.
Live offers plenty of tools to perk up insipid rhythms.
With Logic Pro X, there’s no excuse for leaving your music unfinished!
This page contains a directory of all media pages that hold the associated media for December 2014.
Alex Kamburov: We coax different sounds from identical guitar recording setups and try to inject some attitude into a ‘70s rock track.
To make a splash with a new season of musical drama Nashville, the producers opted for a high-risk strategy: live music segments, performed as the show aired.
These files accompany the Pink Noise article in the December 2014 issue.
Could this neat but powerful little trick save you time and frustration on each and every mix?
Pro Tools’ Quick Start dialogue does exactly what its name suggests!
Tracking lead vocals: We demonstrate why the element that demands most listeners’ attention also demands most of the producer’s...
Use Sonar’s Sonitus Gate to achieve pumping reverb effects.
These files accompany the Session Notes article in the December 2014 issue.
These files accompany the Mix Rescue article in the December 2014 issue
In 1980 AC/DC were on a roll and nothing — not even the death of their lead singer — was going to stop them.
These files accompany Cubase Technique article in the November 2014 issue.
Cubase has all the tools you need to add vocal glitching effects to your pop or EDM tracks.
Tom Petty’s first US number one album was mixed almost entirely without hardware — and with only two plug-ins!