I’m currently looking into a new music PC build and wondered which Windows operating system you’d recommend.
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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.
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’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?
I often wonder exactly what gets matched when microphones with interchangeable capsules are bought as a stereo pair. Is it the bodies, the capsules, or both?
I recently came across an Eric Valentine video, in which he mentions how he keeps his preamps in the live room. My question is this: is there really a valid reason for doing this on runs which I imagine to be less than 100 feet?
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.
I can’t find good explanations about the ‘Playback Resample Mode’ options available in Cockos Reaper, specifically the difference between the Good (64pt Sinc) and Better (192pt Sinc — Slow) modes.
I’ve read that I can get a good hip–hop kick or snare sound by ‘clipping’ it. But when I try this, it sounds horrible. What am I doing wrong?
My band tracked some songs at a local studio using their Pro Tools rig and I want to mix the tracks at home in Reaper.
I have a friend who has a problem. He uses two different amps on stage, one a Marshall and the other a Hughes & Kettner, with a 2x12 and 4x12 cab, respectively. Is there any way he can just use one cab for both amps?
SOS Technical Editor Hugh Robjohns replies.
It’s probably cheaper than you think, provided you spend your money wisely. We offer some sage advice...
I’ve recently become interested in manipulating phase while mixing recorded drums to see what that would do.