Recording

Audio files to accompany the article.

Brass on location: Our engineer tracks a trombone ensemble and solo trumpet for use in a contemporary rock mix.

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.

I recently came across an Eric Valentine video, in which he mentions how he keeps his preamps in the live room. My question is this: is there really a valid reason for doing this on runs which I imagine to be less than 100 feet?

I get the impression that manufacturing tolerances for mid-range and cheaper microphones are not always as tight as one would desire. If I found a mic I liked, and were then to go out and buy that model of mic, might the one I tested and the one I bought sound significantly different?

I often wonder exactly what gets matched when microphones with interchangeable capsules are bought as a stereo pair. Is it the bodies, the capsules, or both?

The success of Slaves’ debut album depended on producer Jolyon Thomas finding a way to bottle their raw live energy.

Audio files to accompany the article.

Hailed as the first British acid house single, A Guy Called Gerald’s sublime ‘Voodoo Ray’ has since become a classic in its own right.

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!

I can’t find good explanations about the ‘Playback Resample Mode’ options available in Cockos Reaper, specifically the difference between the Good (64pt Sinc) and Better (192pt Sinc — Slow) modes.

I’ve read that I can get a good hip–hop kick or snare sound by ‘clipping’ it. But when I try this, it sounds horrible. What am I doing wrong?

I’m seeking some guidance on why I’m unable to record from my guitar amp straight to my audio interface.

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.

This page contains a directory of all media pages for June 2015.

Recording 28 songs in five days is no mean feat. So what sort of results can you get, and what compromises are involved?

I’ve recently become interested in manipulating phase while mixing recorded drums to see what that would do.