Tracks that I mix in my home studio tend to sound really bad in my car, but when I correct the mixes so they sound good in the car, they sound awful over my monitors — so what's going wrong?
This month, Session Notes goes upmarket, giving readers a chance to get their mitts on a professional multitrack session from the world's most famous studio.
This month our selection includes albums from Junkfoxx, Retrodog, Marcus Reeves, My Youth, Pete Thomas & The Horns A Plenty, The Wicked Whispers, Into The East and Adamrake.
Producers: Andy Warhol, Norman Dolph, Tom Wilson • Engineers: John Licata, Ami Hadani
Its status as one of pop's most influential albums is clear, but the circumstances surrounding the creation of The Velvet Underground & Nico have always been clouded. We asked Andy Warhol's co-producer to set the record straight.
The effects of recording to tape seem to be very subtle, with the so-called 'warmth' appearing to be largely due to the soft-saturation characteristics of the tape itself and other non-linear components in the signal chain.
When the Clash entered the studio for the first time they were determined not to sacrifice their punk principles, and the fates — not to mention a sympathetic engineer and a negligent record company — were on their side...
Despite the immense power and flexibility available in modern DAW software, many people still find that the mixes they craft entirely 'in the box' sound unsatisfying. Why is that?
This months we comment on albums from Teenage China, 87PM, Christopher Libertino, The Emergency, Fingers & Thumbs, The Gluespots, Yoshiko Ohara and Marvin B Naylor.