Recording

Can I somehow record individual tracks into my DAW using the UA Volt 1, or should I mix on the Tascam?

I want to install permanent ceiling mics that capture the reverb of the room so I can add natural reverb to my mix. Is there any microphone that rejects direct sound?

Paul White and Hugh Robjohns discuss the basics of a good home studio setup, including choosing the right equipment and setting up your space correctly to achieve the best recording and mixing results.  

Paul White and Hugh Robjohns discuss the best practices for avoiding and eliminating electrical noise interference in your home studio.

I’ll soon record a sludge‑metal band and I need some advice. Any techniques for making the guitars sound sufficiently wide in the mix?

In the first of this two-part series, David Mellor gives us an introduction to mic polar patterns.

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.

I want to record some vinyl into my DAW, could a turntable simply be plugged into any audio interface and the EQ applied after amplification?

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.

Rob Toulson explains how to optimise the drum sound for recording by experimenting with drum head, damping system, tuning and drum shell combinations.

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.

Mix engineers used to prefer hardware to software because it sounded better. Is that still true? And if not, is there still a reason to use it?

I’m seeing a lot of conflicting advice about using compression while recording. Some swear by it while others say it’s completely unnecessary with 24‑bit recording and modern converters. Where do you stand on this?

If I open a 16‑bit, 96kHz audio file, resample it to 48kHz, and then export it again, still at 16 bits, do I need to apply dither?

Two veterans of the online session world share their top tips for success.

A good engineer can make bands sound better than they are. In this video, Sound On Sound's Editor In Chief Sam Inglis explains how to turn musical lead into gold...

I recently started capturing my vinyl collection to DSD and hi‑res PCM. The result sounds great but when I examine the audio file in iZotope RX 8 Elements I see a band of ultrasonic noise. Should I be worried about this?

I want to split the output from my Gretsch electric guitar, to feed both a Boss Acoustic Singer combo and a computer audio interface...

I want to connect my synths and drum machine to a computer DAW and actually make a song, but don't yet have the computer...