Q. Is gain staging important when calibrating my console and monitors using pink noise?
While mixing, I usually monitor with the control room level pot on my analogue console set between about four and five (out of 10)...
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While mixing, I usually monitor with the control room level pot on my analogue console set between about four and five (out of 10)...
As a mix engineer, it’s your job to give clients what they want — but what they say and what they mean aren’t always quite the same...
Feedback and feed‑forward compressors can sound very different. Which type is right for which job?
How often do you need to change the valve in a microphone? How do you know when it needs changing?
I’d like a clearer understanding of what a fully floating balanced output is and how I can take advantage of it....
These gadgets might not be the most glamorous devices, but at some point in your recording adventures you’ll probably find you need each and every one.
I’m planning to get a Cloudlifter to plug into an iRig Pre HD, which I connect to an iPhone for recording my acoustic songs with a Shure SM7B mic...
I enjoyed the review of Caveman’s AP1 acoustic pedal in the October issue [www.soundonsound.com/reviews/caveman-audio-...
Just how do professional engineers tackle the earliest stages of their mixes, and can the rest of us learn anything from their approach?
@import url(https://fonts.googleapis.com/css?family='Arial+Black':100,100i,300,300i,400,400i,500,500i,700,700i,900,900i...
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?