We join Spitfire Audio and engineer Simon Rhodes at Abbey Road Studios for a behind-the-scenes look at the recording sessions for their most detailed sample library project to date.
Cardioid, Supercardioid, Figure of 8 and Omnidirectional compared
A valuable test for recording engineers, David Mellor gives examples of different mic types to emphasise the importance of knowing your mic collection in detail.
Catherine Marks talks to Kevin Paul about her traditional route into the industry as an assistant to Flood and Alan Moulder, plus her tips for how to approach a mix and get the best out of a track.
Kevin Paul talks to Record Producer and Mixer Danton Supple, who gives a fascinating insight into learning his trade at Sarm and Westside Studios during the 1980s and how he approaches the different roles of Recording Engineer, Producer and Mix Engineer.
Kevin Paul chats to producer engineer Gareth Jones about his impressive career at Mute Records and Hansa Studios in Berlin, working with bands such as Depeche Mode, Nick Cave & the Bad Seeds, Erasure and Goldfrapp.
In the final part of this series, Rob Toulson focuses on mic techniques for recording drums and talks us through the issue of frequency cancellation in a multiple mic setup, details how to choose the recording sweet spot in a room and explains the various stereo mic options that are available including the famous Glyn Johns technique.
In the first episode of a new four-part SOS video series, we take a behind-the-scenes look at the process of planning, recording and developing an orchestral sample library.
Setmixer have announced the release of four albums that feature performances captured at iconic London venues by their innovative automated recording and mixing system
In celebration of Delia Derbyshire Day 2023 and the 60th Anniversary of the Doctor Who theme, Caro C discusses the Delia Derbyshire archives and the importance of her contributions to the development of electronic music.
In Part 1, we look at the key principles of drum acoustics and discuss some scientific aspects of drums with respect to making music and creative recording projects.
Recently I had to record a Japanese taiko drum ensemble, but I got a fair bit of distortion even though my recording levels never reached 0dBFS. Why was I getting this distortion/compression?
These gadgets might not be the most glamorous devices, but at some point in your recording adventures you’ll probably find you need each and every one.