
Atmos-capable DAWs
Want to mix in Atmos? We take a look at compatible DAWs.
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Want to mix in Atmos? We take a look at compatible DAWs.
It was roughly a decade after moving to the UK from West Tokyo in 2004 that Japanese producer and artist Koichi Yamanoha came up with the kaleidoscopic mix of folk, art‑rock and psychedelia he calls Grimm Grimm.
If you were to ask me which electric guitar I most pick up when I play for pleasure, not work, I do have an answer, absolutely and definitively.
The SOS Awards mission is to honour and celebrate the finest products in our industry. Make your vote count!
Rob Toulson explains how to optimise the drum sound for recording by experimenting with drum head, damping system, tuning and drum shell combinations.
There are now some impressive offline source separation tools — but this one works in real time!
If you’re a fan of Ted Fletcher’s classic optical compressor designs, this one should not disappoint.
With their iPad version of Logic Pro, have Apple succeeded in implementing a touch‑first user interface without sacrificing pro features?
Arturia have another classic on their long list of software synths: a special little squelchy box.
Mixing gets so much easier when your processing chains are configured to deliver the same results in response to the same levels!
Cherry Audio delve into the distant past to bring us two new virtual instruments.
Stay on top of your content with DP's powerful Clippings.
Record producer/mix engineer Luke Smith details how he got his favourite sound on ‘Spanish Sahara’ from Foals...
David Wrench’s goal as mix engineer was to make Blur sound like themselves!
KMI’s latest keyboards offer MPE control in compact and colourful packages.
Film composer and producer Ludwig Göransson has earned a stellar reputation for sonic world‑building.
Mesanovic’s three‑way speaker offers outstanding performance, wireless connectivity — and a cardioid bass response.
OE’s all‑analogue bass pedals pack the sound of a stack into a stompbox.
With the new Sketch window and app, Pro Tools enters the world of clip launching.
Turn the ratio up, and a compressor becomes a limiter. Go even further and you enter the world of reverse dynamics — and unique sonic effects.