At a very basic level, just think about how the sound of a tapped guitar changes from the sound of a picked lead. Your pick attack is virtually gone as the tapping acts as more like a hammer on a piano string than a pick scraping against a guitar string. How do you account for things like this in your mix to keep your guitars sounding consistent and full?
Before compression, EQ, or any other dynamic processing, you need to know where you want your instruments to sit. Let’s take a look at a few quick tips to get the most out of your panning.
In a band laden with technically proficient players, Jason’s musicality carves out its own niche in the music’s lush sonic landscape and his solos rip through song after song.
There’s a lot of insight we can gain from bass-focused engineers and producers, as well as professional bassists, when it comes to getting an awesome bass sound both in the studio and in a live mix situation.
Chances are pretty high most people complaining about iLoks just aren’t using them in a way that fits their workflow. Keep reading your make sure you’re using yours correctly and save yourself from becoming one of them!
Here are a few housekeeping tips to keep your DAW running smoothly and ways to get the most out of your session with half as many plugins as you’re using today.
Compressors are some of the most powerful tools available to recording engineers and mixers in the studio, but they also happen to be misused the most often.
Rock music has stuck with the formula its fans know and love: big, bombastic drums, walls of distorted electric guitars & at the front of it all a singer belting out powerful, brazen vocals. A distinctive tonality comes with nearly every voice in rock that exudes confidence and authority in a way that no other genre consistently does. As the mix engineer on those sessions, how can you be sure that you’re enhancing your singer’s performance to showcase those features?