Signal Processors

EQ will make or break your master. It's the single most important factor in mastering, once you've decided the loudness...

With so many modules on the market, how do you make the right choices?

Not all 500‑series racks are created equal. Here’s what you need to know to make your choice.

Your DAW makes it easy to fake old-school doubling techniques, and gives you much more control than producers had in days gone by. We show you how...

Multiband compressors offer unique advantages over their broadband cousins — but they also present some perilous pitfalls for the unwary.

Mike Senior explores the subject of Haas delays at mixdown, explaining how they work, how to get the best out of them, and how to avoid the most common traps associated with them.

Creating your own shimmer reverb effects is easy, and gives you plenty of creative control.

Compression can do radically different things to the sound of a snare drum, depending on how it's set up. In this episode, Mike Senior explores three ways in which a compressor can help bring your snare tracks to life.

Plug‑in models of classic hardware can sound great if you feed them the right level. But what level is right?

I've got a Zoom MS-70CDR [multi-effects] pedal, and a few people are saying not to use it via an aux send and return, owing to a comb-filtering issue. Have you noticed this issue with digital pedals on aux returns?

I've always advised my students to set their high-pass filter slope at a steep setting of 48dB per octave to reduce boominess. Is this the best advice to give my students, who are very much at the beginner stage?

Reverb plug-ins can present a bewildering variety of parameters. We explain what they're there for, and how to put them to good use!

Can I get good results on a Dobro that has a Shertler Basik on‑board mic, or will I need a piezo pickup?

How do you differentiate between the following terms: saturation, harmonics, distortion, overdrive? Are all of these just similar terms with different names?

I've recently bought a Klark Teknik KT-2A compressor to use with my Warm Audio TB12 preamp and noticed the TB12 has insert input and output sockets. What is the best practice when using outboard compressors with preamps when tracking?

You can do so much more with noise gates and expanders than nix unwanted noise...

I thought I had a handle on this, but seem to have a hard time understanding the difference between a compressor’s ‘Hold’ and its ‘Release’. Can you help explain?

We explore some more advanced techniques and less-obvious applications for Synchro Arts’ powerful audio-alignment processor.

We dive deeper into Synchro Arts’ powerful pitch-processing and audio-alignment software.

In Ableton Live, I used to use a plug-in to split a channel so that I could do multiband processing. I’m now using Cubase Pro 8.5 and it doesn’t seem to work...

This uniquely powerful pitch, energy and time alignment software could save you hours of edits.