SOUND ON SOUND
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Drawing our mini-series to a close, we take you on a detailed tour of the mix and mastering stages of the Damnation’s Hammer album Unseen Planets, Deadly Spheres.
For anyone regularly needing to mic a grand piano, the Mirizio Microphone Mount is a very elegant and cost-effective solution.
Modartt’s modelled piano just keeps getting better...
Analogue Solutions introduce their new SynthBlocks range with two highly individual devices.
MusicLab’s latest update makes RealGuitar more real than ever.
They say that absolute power corrupts absolutely. But it does give you a certain amount of artistic freedom.
Gender equality in music production still has a way to go.
Software instruments range from the massive and deep, such as Spectrasonics Omnisphere, to the very basic. Psychedelic FX 6000 V1 definitely inhabits the simpler end of the spectrum — and that’s all part of its appeal.
If there is such a thing as a classic plug-in, Line 6’s Echo Farm surely falls into that category...
The VoiceTracer series spans everything from dictaphones to this —a serious PCM recorder with XLR input module and phantom power.
MangledVerb first appeared as an algorithm in the rackmount Eventide Eclipse effects units. It then migrated to the H9 guitar pedal, and is now available as a self-contained plug-in supporting all the usual formats.
RZ062 is a faithful recreation of a valve EQ that was made by Siemens in the 1950s — or rather, of two different valve EQs, because Audified have modelled both ‘A’ and ‘B’ versions of this processor as separate plug-ins.
With their easy portability and clear, transparent sound, PreSonus’ latest range of PA speakers couldn’t have been better named.
We continue our exploration of the mastering possibilities in Pro Tools.
A ribbon mic would be a very welcome addition to my collection, but would its figure-of-eight pattern mean I pick up more of the room tone compared with a cardioid condenser?
There must always be a certain amount of masking going on in any mix, but I just don’t know how much there should be. Can you offer any tips?
Is there anything wrong with riding the vocal levels in my mix using clip gain settings rather than fader automation?
How can I find the frequencies that are making my vocal sound harsh?
I don’t use my [Electro-Voice] RE20 mic all that much, but when I do I find it needs the preamps turned up an awful lot to capture usable audio, and consequently there’s often a hum in the recording...
We investigate Propellerheads’ new subscription service for Reason Rack Extensions.