
Mix Rescue: Nerve 9 | Media
Audio files to accompany the article.
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Audio files to accompany the article.
Max Farrar: we take on a well–crafted contemporary pop tune with a massive number of tracks, and create two different mixes.
Alex Kamburov: We coax different sounds from identical guitar recording setups and try to inject some attitude into a ‘70s rock track.
Arc Pilot: When you’re talking about bass, it’s definitely possible to have too much of a good thing!
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.
Our engineer figures out how to apply just the right amount of polish to an indie-rock track with a DIY aesthetic.
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.
Links to Audio files mentioned within AUGUST 2008's Mix Rescue article.
Even grime mixes need clarity! This month we get our hands dirty cleaning up the mud in Alex Giddens track.
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Ever wondered why your beats cant compete with commercial mixes? We show you how to nail them... without losing sight of the song.
Recording simple ideas quickly often helps you to capture a good, fresh-sounding performance — but it can also leave you with frustrating technical problems in the mix. This month, we tackle just such a recording...
Beefing up bass parts played on guitar and importing GarageBand songs into Logic are among the challenges for Mix Rescue, as we add some spice to Adam Bevans mix.
Getting the macrodynamics of a song right while also nailing down the important rhythm can be a real challenge. We explore some techniques for tackling this and more on Moosmusics Big Dummy Shake.
When you're trying to achieve a tight, commercial hip-hop sound, you might need to resort to some heavy processing — but not on every track...