I've been struggling with recording and mixing 'epic' guitar sounds. I'm after something that balances aggression with tone, but which doesn't sound too distorted... Any tips?
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Sound Advice: Production
Could you please explain what the Waves V‑Comp auto-release setting actually does? What is it trying to accomplish?
I'm looking through my reverb plug-in's preset list, and I'm wondering: what do all those cryptic preset names mean?
I'm not really sure when it's best to use mono reverb effects — and how to pan the reverb when doing so — and when to use stereo reverb?
I enjoyed Mark Mynett’s recent Making Modern Metal series in SOS, but didn’t understand why he suggested that when EQ’ing...
How can I find the frequencies that are making my vocal sound harsh?
I have a slight level mismatch that I don’t know how best to resolve. I want to patch the Dangerous Music Compressor through the inserts on two of an Allen & Heath GL2400 mixer’s input channels. The problem is that the send signal from the mixer is a tad weak for hitting the compressor where it works best...
Why is it that I hear about so many producers spending hours riding lead vocal levels. Surely that’s what a compressor’s supposed to do?
I need to do some recording of spoken word, using a cheap and cheerful lavalier mic, but it’s noisy — there’s a steady ‘hiss’. Is there some plug-in that can reduce said noise, perhaps by taking a sample of it and then adding it out of phase?
Why is it that reverb is so much more audible on good headphones than good speakers? Is it to do with the ambient noise or reflections in the room?
I think I understand what crosstalk is, but I don‘t know how it sounds. I can’t find a proper explanation of how mixes sound with and without it. Also, is crosstalk in plug-ins something to look out for, or is it a myth?
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?
A client recently sent me a mastered album for some additional EQ tweaks as he wasn’t completely happy with the balance when playing back via an iPhone on his car stereo...
A few years ago I decided to concentrate on producing my own music. I’ve since spent thousands of hours going through...
I recorded a choir with an ORTF pair and a 40cm-spaced omni pair on a bar, and later viewed these recordings on the Voxengo Span plug-in’s correlation meter. I have read the Span manual but remain confused about what this meter is telling me...
I do a lot of dance music, and have been referencing my mixes against commercial releases. How can I get the fat synth sounds of my references without going nuts with EQ?
I’ve read about a classic stereo-widening effects patch, comprising two short delays (say 11 and 13 ms) hard-panned to opposite extremes...
I’m struggling to understand what’s really happening when you use different compression ratios. Can you explain please?
I was listening to Conor Maynard’s YouTube cover of Shawn Mendes’ ‘Stitches’ and wondered if you could provide any insight into what he used to get that huge, rich vocal tone.