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?
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.
Alexis Taylor, Joe Goddard & Mark Ralph: Recording Why Make Sense?
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.
I have a friend who has a problem. He uses two different amps on stage, one a Marshall and the other a Hughes & Kettner, with a 2x12 and 4x12 cab, respectively. Is there any way he can just use one cab for both amps?