Q. How do I make live-tracked metal guitars sound sufficiently wide?
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?
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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?
USB is at the heart of most PC‑based studios. But what do you do when it goes wrong?
Low distortion is often a marker of quality in audio equipment. We explain how to make sense of standard distortion specifications.
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.
On paper, Linux has many advantages over macOS and Windows. How easy is it to get started, and how far will it take you?
At what point in the mixdown process do you think it’s best to engage the master‑bus compressor?
I’m restoring an old Soundcraft 600 mixer and discovered it doesn't use dedicated line amps and pads the mic amp signal.
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We condense nearly 50 years’ worth of producing and engineering experience into 36 indispensable tips!
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?
I’d like to purchase an in‑line gain booster and would appreciate your recommendation.
Specifications can be a useful guide when choosing equipment. Our new series, in association with Audio Precision, explains how to understand and compare the specs of competing products.
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There were some strange pin assignments on Eventides in the old days — could that be the problem?
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.
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Rob Toulson explains how to optimise the drum sound for recording by experimenting with drum head, damping system, tuning and drum shell combinations.