SOUND ON SOUND
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Arc Pilot: When you’re talking about bass, it’s definitely possible to have too much of a good thing!
Alex Kamburov: We coax different sounds from identical guitar recording setups and try to inject some attitude into a ‘70s rock track.
Max Farrar: we take on a well–crafted contemporary pop tune with a massive number of tracks, and create two different mixes.
Patrizio Cavaliere: Our engineer sorts out the bottom end of a deep–house track.
We try to bring a bit less garage and a bit more rock to a self‑recorded production with a retro feel.
Mixing strings in rock music: our engineer follows up last month's string‑recording session by describing how he integrated those strings into a full‑on rock mix.
Our engineer figures out how to apply just the right amount of polish to an indie-rock track with a DIY aesthetic.
One of our engineers visits a reader's studio to help him bring the best out of his dubstep track.
A reader's carefully crafted symphonic synth epic gets the SOS mix makeover treatment.
How do you make a mix gel when some of the tracks arrive already drenched in effects? That's just one of the challenges our mix engineer takes on this month.
As he gets to grips with another reader’s track, our mix engineer shows that distortion can often be as useful as EQ in sculpting sound sources.
Audio examples which accompany the article.
Our tame mix engineer was asked to inject some dark, moody aggression into this month’s track. Read on to find out how he did it...
Technically speaking, working with a single-track recording may not be 'mixing', but a surprising amount of useful mixing‑style finessing can still be performed.
These audio files accompany the Mix Rescue article that featured in SOS December 2010.
This month, as well as revealing a few unusual tricks, our mix engineer demonstrates how to achieve power and clarity by focusing on the contrast between the sounds of different instruments.
This month, as well as sorting out a few sonic gremlins, with edits, EQ and other tricks, we aim to draw out more of the ‘moments’ in a track.
In working to perfect a Bollywood mix, our engineer found that there were plenty of lessons that could be drawn from it and applied to mixes in most genres.
Audio files to accompany the article.
Programmed classical and film music demands convincing use of sample-based instruments. But how do you achieve this? Our engineer explains, as he takes on this month’s remix...