Compression in mastering is different — both the goals and the methods. Mastering engineer Ian Shepherd describes three different mastering compression techniques — how and when to use them, and why the goal is to be invisible.
The following Audio examples accompany our Cubase: String Theory Part 2 workshop article.
Finally, Logic Pro X catches up with, and in many ways improves upon, the step sequencers in other DAWs.
Analog Delay has been a stock Studio One plug‑in since the beginning, pumping out cool vintage echoes with its previously vanilla GUI, but with v5 it received a bit of an interface upgrade.
Last month we ‘faked’ some string‑arrangements. Now it’s time to add a human touch.
When rapper Machine Gun Kelly enlisted the help of producer and Blink‑182 drummer Travis Barker on his latest album, a shift to pop‑punk seemed inevitable. Who better to mix it than punk/hip‑hop crossover engineer Adam Hawkins...
One of the most significant features introduced in DP 10 was the Clips window, and in the 10.1 release, MOTU made it even more powerful.
Even in today’s computer‑based studios, a patchbay can change your life. We help you choose the right one.
Live’s Session view abandons the timeline and allows you to simply trigger individual looping or one‑shot clips of any length.
Darude’s 1999 dance hit has taken on an extensive and often surprising life of its own.
EQ will make or break your master. It's the single most important factor in mastering, once you've decided the loudness...
Canadian producer and educator Mat Gendreau shares his Top 5 Tips on processing reverbs to fit with your song tempo and to avoid overpowering a mix.
How loud is loud enough, and how loud is too loud?
Audio examples to accompany Part 1 of our Cubase: String Theory article.
With the right guidance, iZotope's RX can remove problem sounds that would otherwise ruin a mix.
We look at the history, the theory and the practice of making electronic music without a computer.
The lead single from Pop Smoke’s posthumous debut album was stitched together from two demos in different keys. Mix engineer Jess Jackson turned it into a piece of pop magic.
Cubase can help you write and arrange realistic string parts.
There’s more to great‑sounding reverb than loading and tweaking your favourite plug‑in.
We introduce a little‑known mic configuration that has some unique advantages over more familiar stereo arrays.