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Primed for Mixdown  Feb 1, 2010, By Steve Skinner With a good DAW, mic and mic pre, you can record master-quality tracks. A master-quality mix, however, often requires more expensive gear and the specialized...

Remix Clinic  Feb 1, 2010, By Vincent di Pasquale A remix is so much more than its name implies. In many cases, it is an entire reworking of a song; the only parts that remain from the original are the...

Tech Page: How Low Can You Go?  Feb 1, 2010, By Scott Wilkinson Common wisdom says that speakers must be large to reproduce low frequencies after all, as the frequency drops, the speaker must move more air. This requires...

Sound Design Workshop: Xtreme DNA  Feb 1, 2010, By Len Sasso Celemony's new Direct Note Access (DNA) technology, available in the most recent Melodyne editor, opens a host of heretofore difficult sound-design processes....

Option-Click: Coffee Shop Jam  Feb 1, 2010, By David Battino For years, Vintage Synthesizers author Mark Vail and I have run electronic jam sessions. Usually we haul out so much gear that setup takes ages and we...

Tech Page: Unmixing  Jan 1, 2010, By Scott Wilkinson For most projects, musicians ultimately think about mixing many audio tracks down to two or, at most, 5.1. But the other direction is also important sometimes:...

Creative Compression  Jan 1, 2010, By D. James Goodwin Over the years, much has been written and discussed about compression. Everyone has a passionate opinion about how and when it should be applied, and...

Option-Click: Ivory-verb   Jan 1, 2010, By David Battino When you want to move an instrument back in a mix, the obvious approach is to crank up the reverb. But many virtual instruments offer more subtle and...

Sound Design Workshop: Acting on Impulse  Jan 1, 2010, By Benjamin McFarlane Impulses, momentary spikes in amplitude, are used in audio mainly as a tool for testing rooms or programming convolution reverbs. An impulse is as close...

Making Tracks: Note for Note  Jan 1, 2010, By Eli Krantzberg A good lead sheet contains clear, easy-to-read chords, melody and lyrics (see Fig. 1). I'll show you some ways to create these with Apple Logic Pro 9,...

Master Class: Any Way You Slice It  Dec 1, 2009, By Marty Cutler Half a decade after its introduction, Spectrasonics Stylus RMX remains at the very top of my list of go-to instruments. What keeps it on the A team is...

Polar Pattern Power  Dec 1, 2009, By Brian Heller The directivity of a microphone is a key variable in the art of capturing any sound. Because mic placement is among the hardest things to undo or fix...

Making Tracks: At Your Fingertips  Dec 1, 2009, By Markkus Rovito Drum-pad and pad-grid controllers are finding their way into studios and onto all kinds of keyboards and workstations. If you're only using those pads...

Sound Design Workshop: Rough It Up  Dec 1, 2009, By Benjamin McFarlane It's the early '70s. Somewhere in the U.K., Yes' keyboardist, Rick Wakeman, is tweaking the filter emphasis on his Minimoog. Across the Atlantic, Eric...

Nathaniel Kunkel InSession: Technology=Clarity?  Dec 1, 2009, By Nathaniel Kunkel I've got to tell you, one of the most interesting things we discuss in the studio is the reality that even though all this great technology was intended...

Making Tracks: Make Mine Rubato  Nov 1, 2009, By Michael Cooper Many musicians hate recording while following a soulless click track that constrains their playing to a rigid tempo. Unfortunately, recording tracks with...

Sound Design Workshop: Bottom's Up  Nov 1, 2009, By Simon Langford Sidechain compression is an industry staple for cleaning up the bottom end of bass tracks. It uses a kick drum as the sidechain input to a compressor...

Mixing Drums | Beefing Up the Beat  Oct 1, 2009, By Michael Cooper Much has already been written about mixing drums, so rather than restating the basics, I'll share with you tips and advice that you're less likely to...

Making Tracks: Screencast Audio Editing  Oct 1, 2009, By Eli Krantzberg Screencasting programs such as ScreenFlow for the Mac and Camtasia for Windows let you simultaneously capture screen movement and audio. Here's how to...

Sound Design Workshop: Clean Sweep   Oct 1, 2009, By Len Sasso The familiar sweeping effect known as flanging takes its name from the way in which it was originally produced using a pair of analog tape machines. The...

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