SOUND ON SOUND
I mostly record vocals and acoustic guitars, but sometimes harmony vocals with groups of two or three singers. However, as my skills improve I’d like to try small folk line-ups too...
I’ve read about a classic stereo-widening effects patch, comprising two short delays (say 11 and 13 ms) hard-panned to opposite extremes...
Christine And The Queens • Radiohead • Rick Astley • Classic Mix: T’Pau ‘China In Your Hand’ (1987)
I’m struggling to understand what’s really happening when you use different compression ratios. Can you explain please?
The Don Camillo Chor: Our engineer records a choir singing in their practice room, and tries to make it sound like it was captured in a church!
I increasingly hear people extolling the virtues of a multi-bus system for mix processing, where you mix everything to a handful of parallel submasters, each with its own master-bus-style processing, before passing a mix of all those to the overall master bus. What’s the rationale behind this technique?
More analysis of tracks from: Drake • The Steeldrivers • Fifth Harmony • Classic Mix: Prince & The New Power Generation ‘Sexy MF’ (1992)
I was listening to Conor Maynard’s YouTube cover of Shawn Mendes’ ‘Stitches’ and wondered if you could provide any insight into what he used to get that huge, rich vocal tone.
Music from: Zayn • Jonas Blue • Alan Walker • Kendrick Lamar and our Classic Mix is David Bowie's 'Starman'.
I’ve been reading up about reference tracks for mixing and mastering, and I want to increase both the amount and range...