SOUND ON SOUND
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There comes a point when tinkering with your mixes won’t improve them — it could even damage them. But just how do you know when it’s time to let go?
I was just watching an online tutorial by iZotope, and they discussed NS‑10s and Auratone cubes being used to focus on the midrange. Is this a sound I can achieve with EQ?
I have to record some whispering. The room is not great so I will put the whisperer close to the mic, are there any risks with recording a vocalist very close to a mic?
Are mixers smart enough to know when a signal coming into the XLR is at line level and to adjust accordingly?
Paul White delves into the fun world of modelled guitars, amps and cabs, that cannot only make your songwriting and studio sessions more creative and unique.
What is the approximate sound pressure level of a concert grand piano, about 12 inches above the hammers during a triple forte passage — or, in other words, as loud as it could get?
I have a recording of a drummer where the sound is decent, but there are some issues with the performance. Is there a way to tackle this without fully replacing?
Alongside the link output and regular XLR balanced output, my DI box has an unbalanced TS jack output as well. What is this used for?
I need a patchbay for my outboard but don’t really understand what normalling and half‑normalling are — how do I know what kind of setup I need?
Paul White and Hugh Robjohns pick their software and hardware highlights from the gear they've reviewed in the last 12 months.
Can I somehow record individual tracks into my DAW using the UA Volt 1, or should I mix on the Tascam?
I recently bought a Grace Design Felix 2 preamp blender to use with a dual‑source system on an acoustic guitar, will the power output damage my microphone?
I’ll be building some corner traps soon and want to know the best choice for bass trap materials.
Paul White and Hugh Robjohns talk us through four essential studio effects that every music producer or mix engineer needs to know for creating an effective mix.
A Cat5/Cat6 stagebox is a much cheaper option than a Dante stagebox — but does this really work, at least for fairly short runs, at mic level?
I’m trying to figure out when to use the low‑pass and high‑pass filters on a microphone. Can you please offer some advice?
I want to install permanent ceiling mics that capture the reverb of the room so I can add natural reverb to my mix. Is there any microphone that rejects direct sound?
Why is it that for the first few minutes of listening to an AM radio station after switching from an FM station, it sounds very different?
Paul White and Hugh Robjohns discuss the basics of a good home studio setup, including choosing the right equipment and setting up your space correctly to achieve the best recording and mixing results.
Is it ever appropriate to place a limiter on a routing folder for specific parts prior to them hitting the final mix bus?