These files accompany the Mix Rescue article in the December 2015 issue of SOS.
Fred’s House: Our engineer overcomes lashings of speaker bleed as he massages a vocal–heavy mix into shape.
Audio files to accompany the article.
To celebrate the magazine’s 30th birthday, the SOS team take a trip back in time, finding out what it was really like to work in a mid-’80s home studio.
One of the most misunderstood subjects in pro audio is control–room nearfield monitoring: the dos and don’ts, the problems and suggested remedies.
Greg Price has spent nearly 20 years at front of house for some of the biggest names in rock, and now his company believe they’ve perfected the art of live recordings.
In 1987, swimming against the tide of MIDI–powered pop records, Cowboy Junkies went into a church to record an album into a single microphone in a single day.
We make a rare visit to a world-class recording studio, as one of The Church’s engineers takes us through a recent session.
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 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.
Engineer Richard King has brought the art of ensemble recording to new heights in both classical and folk/pop spheres.
We visit the world-famous Blackbird Studios in Nashville to meet Jacquire King, the Grammy-winning producer of James Bay’s Chaos And The Calm.
Throbbing Gristle’s highly individualist approach to music extended as far as making their own instruments and, ultimately, their own genre.
Spektakulatius: With last month’s mixes in the bag, our engineer was tasked with finding and working with a mastering engineer to put the finishing touches to both albums.
The success of Slaves’ debut album depended on producer Jolyon Thomas finding a way to bottle their raw live energy.
Recording and producing your own music is always a challenge — especially if, like Faith No More, your previous albums have been done by the best in the business!
My band tracked some songs at a local studio using their Pro Tools rig and I want to mix the tracks at home in Reaper.
How do you write music for a TV show you haven’t seen yet? It helps if you can draw on years of experience composing for video games...
Down in Hot Chip’s bunker-like basement studio HQ in Hoxton, the five members of the London band are coaxing strange sounds from an array of analogue synths.
Recording 28 songs in five days is no mean feat. So what sort of results can you get, and what compromises are involved?
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