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.
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.
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?
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?
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?
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...