Recording

I've got lots of kit in my studio — over 30 items of both analogue and digital gear — and I've got a dilemma. I...

My band members and I wish to find an easy and affordable way to record and disseminate arrangement ideas. Currently, we...

Q. What recording/mixing tools do you recommend?

Q. What mics should I use for a bigger drum sound?

I am a regular reader and consider myself fairly well informed, but I'm struggling to find the answer to a really simple...

A friend of mine who is a full-time professional musician has recently bought a new PA and now wants to fit permanent...

I have a five-piece drum kit with the three standard cymbals. I am trying to get the best sound possible on a very small...

Do I really need to use a 'matched pair' of microphones, or even two mics of the same make and model, for stereo recording...

If you have two bits of gear that you'd like to run into your computer interface via S/PDIF, do you need two S/PDIF inputs?

I have been reading the book Mastering Audio by Bob Katz. In it he addresses the issue of the detrimental occurance of comb filtering when recording in stereo and then combining the signals in a single track...

Each time I record audio I get a continuous buzz and high-frequency noise recorded along with any music. It is clearly audible during intros, quieter passages and outros. However, when my screensaver comes on, this noise drops considerably...

I've read about a technique that increases the perceived width of the stereo mix using phase inversion. Can I use this method even though my mixer doesn't have phase-invert buttons?

After maximising my mix, so that the level of the audio is just below the point of clipping, if I insert a high-pass filter at, say, 40Hz, suddenly the audio starts to clip. What is happening? 

Would it be possible to use two figure-of-eight mics to create a surround sound recording on a two-track recorder, which could be decoded and mixed later on?

I was working with a group who have a wind player in their line-up. When it came to the clarinet I just could not get a signal that would cut through the mix, despite using a second mic. Any suggestions?

I have recently been asked by a well-known broadcasting organist to undertake a recording of a Wurlitzer pipe organ in an auditorium...

Could you explain the subtle differences between all the different variants of Dolby — A, B, C, HX and SR?

I use MIDI-sequenced sound modules for backing, so I am considering the option of sync'ing my sequencer with my AW4416 and running the modules in time with the recorded material. Or is it more sensible for me to record the module outputs to the hard drive?

What's the best way to get rid of tom ring (a ringing noise after the tom is hit) picked up by the tom mics on a recording...

Back in 1986-7, there was an ad for an amazing and inexpensive technique which, it claimed, added many more audio tracks to your eight-track reel-to-reel tape machine. How did it work?

If I limit using a Alesis Nanocompressor when recording into my Emu 1820 soundcard, can I still limit the final mix with, say, Waves' L1 Ultramaximizer without any problems?