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Sound Advice: Production
I thought I had a handle on this, but seem to have a hard time understanding the difference between a compressor’s ‘Hold’ and its ‘Release’. Can you help explain?
A client recently sent me a mastered album for some additional EQ tweaks as he wasn’t completely happy with the balance when playing back via an iPhone on his car stereo...
I recorded a choir with an ORTF pair and a 40cm-spaced omni pair on a bar, and later viewed these recordings on the Voxengo Span plug-in’s correlation meter. I have read the Span manual but remain confused about what this meter is telling me...
I’ve read about a classic stereo-widening effects patch, comprising two short delays (say 11 and 13 ms) hard-panned to opposite extremes...
I’m struggling to understand what’s really happening when you use different compression ratios. Can you explain please?
I’ve been reading up about reference tracks for mixing and mastering, and I want to increase both the amount and range...
I’ve got to the point at mixdown where I’d usually be thinking about sending everything through a couple of global reverbs/delays with a view to simulating a soundstage. Would this have actually been possible for a mix engineer in that decade?
I’m about to take on the task of running live backing tracks for Hacienda Classical live shows.
I’m an aspiring electronic musician, and am hoping to create some stuff with real shaking low-end impact, but the interaction between kick and bass still puzzles me.
I’ve put a lot of effort into creating and editing a recording of a solo mandolin. Although I like the final result a lot, on reflection the tone seems too trebly and cold.
In the May 2015 Mix Rescue article, Mike Senior talks about how he bounced out a mix any number of times to compare it to his references. I understand the purpose of referencing, but what I don’t understand is why he bounced out the mix.
I’ve been using the Haas delay effect to add some nice width to my guitar parts. It sounds great, but I’ve noticed that when I listen in mono my guitars pretty much disappear from the mix. Is there any way at all to make this sort of thing more mono-friendly?