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I’ve read that pro gear should use balanced connections, but I’ve been looking for a mixer recently and find that most have unbalanced insert points. My interface uses balanced I/O, as does most of my outboard gear. What gives?
I have a Casio PX310 digital piano. When jacks are inserted into the (quarter-inch) line out sockets, the onboard speakers are not muted. They are muted when headphones (or a jack) are inserted...
Can I link the S/PDIF out of my Boss DR-880 to the S/PDIF input of my Focusrite Scarlett 8i6 audio interface and get good results?
My room is not ideally treated, especially in the corners near my monitors, which have no bass traps. Would it help to use monitors with bass ports on the front.
I’m an aspiring electronic musician, and am hoping to create some stuff with real shaking low-end impact, but the interaction between kick and bass still puzzles me.
I have three laptops in the house, all of which produce various sparks and flashes at the mains end when plugged into the wall.
I’ve put a lot of effort into creating and editing a recording of a solo mandolin. Although I like the final result a lot, on reflection the tone seems too trebly and cold.
I’m working on an acoustic track and would like my vocalist to sing backing vocals in a more ‘breathy’ way. Are you able to offer some vocal coaching tips that I can ask him to try?
In the May 2015 Mix Rescue article, Mike Senior talks about how he bounced out a mix any number of times to compare it to his references. I understand the purpose of referencing, but what I don’t understand is why he bounced out the mix.
I’ve been using the Haas delay effect to add some nice width to my guitar parts. It sounds great, but I’ve noticed that when I listen in mono my guitars pretty much disappear from the mix. Is there any way at all to make this sort of thing more mono-friendly?
When I sit at my listening position, at the apex of an equilateral triangle with my monitors, everything sounds OK. When I shift my head things that were panned centrally move immediately to the side, and seem to come just out of that one speaker. Is this the way it’s supposed to be?
I get the impression that manufacturing tolerances for mid-range and cheaper microphones are not always as tight as one would desire. If I found a mic I liked, and were then to go out and buy that model of mic, might the one I tested and the one I bought sound significantly different?
I’m seeking some guidance on why I’m unable to record from my guitar amp straight to my audio interface.