Mixing
For mastering engineers and mixers in search of uncompromising quality on the bridge from their digital sources to their analog gear, NAMM 2020 marks an exciting moment with the release of the SPL Mercury, the first dedicated mastering DAC built on SPL’s 120V Rail Technology. To make your high-fidelity existence even more enjoyable, the Mercury also functions as a top-notch stereo monitor controller. Don’t worry, all the audio
by Nicholas Messitte ·Posted
No mixing or recording engineer needs to be briefed on Apogee: its rackmount units represent the pinnacle of sonic reproduction at the conversion stage. Yet there’s always been a gulf between those who use these desktop devices—the Duet and the Quartet, namely—and those who seek the Symphony, the flagship in AD/DA conversion. Today, that gulf is no more: Apogee has released the Symphony Desktop, an interface offering the
Ready to surprise the world pleasantly at NAMM 2020, Warm Audio has announced the release of three new products that will surely receive a warm welcome in studios, concert venues, and houses of worship. There's the BUS-COMP (you guessed it, a stereo bus compressor) and—this may come as a shock—the appropriately named Direct Box Active
For podcasting, music recording, and mixing with class-leading quality and ultra-low latency at a wallet-friendly price, check out the 2-channel M2 and the 4-channel M4, MOTU’s new portable, high-resolution, USB Type-C audio/MIDI interfaces. With virtual loopback channels for live-streaming or recording remote podcast guests, a full-color LCD for
With so many speakers on the market, it’s always intriguing to see a new company doing something fresh with their monitors. Founded by a team of professionals from the world of pro audio, Kali Audio is an American company that designs and engineers its products in Southern California, and plans to name each product line after a different locale in the great Golden State. Though you may not be familiar with the name Kali Audio, its staff has been integral to the production of highly successful loudspeaker products throughout the last 30 years.
In studio recording sessions and live music productions, one of the most pervasive personal problems experienced by performers and sound engineers alike is the need for “more this” and “less that” in the monitor/headphone/cue mixes. Seemingly unending requests such as, “Turn me up in my headphones!” or “LESS cowbell, not more!” can yield a crop full of frustration, wasted time, and bad vibes. What’s the solution? One particularly helpful and clever approach is to empower the performer with the ability to make their own mixes, allowing each
by Nicholas Messitte ·Posted
Slate Digital is famous for its analog emulative software but, at NAMM 2019, the company will unveil the next generation of a famed piece of hardware—the Raven. Already home in many commercial and project studios alike, the Raven reimagined the analog mixing board as a sort of tablet, providing a tactile experience for the modern, knobless world.
With the Slate Raven MTZ, users will experience a 43" projective-capacitance, no-bezel
The market has given us a bountiful harvest of audio interfaces; from ultra-compact stereo models to mammoth rack-eaters with more channels than sense, there's no shortage of options. So, when Steinberg announced its new high-end AXR4T Thunderbolt™ audio interface, the first question that came to mind was, “What's so special about this one?” Well, the answer became obvious upon the first glimpse of its front panel... there it was,
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Join AB and Doug Guerra as they discuss the different challenges and techniques with which one is faced when recording and mixing audio for video. They cover topics such as equipment choice, EQ, compression, room acoustics, and more, and there are in-depth demos with screen captures that show how to go from an initial draft to a completed product. We hope you enjoy the video, and invite you to view the wide selection of other instructional and informative videos at BandH.com.
by Nicholas Messitte ·Posted
Perhaps you've read the previous article on equalization in the mastering process and find yourself a glutton for punishment. If not, welcome anyway! Please, feel free to read these articles in any order—you ostensibly have free will.
We're here to talk about compression, and what it can do for you in the mastering process. This article is going to assume a basic knowledge of dynamic compression on your part. If you're not familiar with what compression is, or how it works, then I recommend brushing up on these videos on various aspects of
The latest explosion of new software from PreSonus will come as a welcome shock to creators in music and video production, whether in your home or at the studio. From plug-in emulations of classic analog equipment to bold innovations in functionality, PreSonus aims to make what you do easier, more inspiring, and sonically pleasing by offering a host of new Fat Channel plug-ins and the impressive
Part 1 of Little Things That Make the Song Big laid out some important considerations about song structure, section lengths, choice of instrumentation, and how they change the impact of songs. In Part 2, the focus will be on instrument- and pitch-specific alterations, tempo, groove, and mixing tips. Moving forward, always remind yourself that these elements form a somewhat fragile musical ecosystem. Though identifiable as
The name Weiss should spark excitement in the minds of audio engineers around the world. For more than two decades, the Weiss DS1 hardware processor has been synonymous with premium compression, limiting, and de-essing for mastering. The only problem? The $10,000 price. Thanks to Softube, the inimitable quality and versatility of the DS1-MK3 (the DS1's third iteration) is now available in plug-in form! Going beyond emulation, Softube painstakingly ported each line of code from the DS1-MK3 to create a true recreation officially licensed and
No one writes music like you do. No one pens lyrics like you do. No one makes mixes like you do. Those “truths” are self-evident to many, dominating their creative decision-making processes. Perhaps you’re one of those individuals, confident and convinced that your way is THE way. Maybe you’ve established your sound, methods, and routines and see no benefit in changing them. Well, sit down, because we need to talk.
Often the worst sessions are the ones dominated by know-it-all, gimme-the-ball, I’m-gonna-take-the-shot stars. Producers who won’t
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In this second part of our tutorial on the basics of DJing, we explore the basics of tempo matching and mixing.