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ReWired for Effects 

By David Darlington

Producers and engineers are constantly trying to come up with something new when mixing their latest creation. To that end, they invest in plug-in and...

Fun with Formants 

By Len Sasso

Formants are usually associated with vowel sounds; they are the natural resonances of the vocal tract that give vowels their character. Acoustic instruments...

Timing Is Everything 

By Brian Smithers

Horticulturalist Luther Burbank is credited with defining a weed as any plant that is growing in the wrong place. In that same spirit, one could consider...

A New Look at Vocoding 

By Len Sasso

You can think of a vocoder as a morphing multiband equalizer, in which the morphing is controlled by a spectral analyzer. Typically, speech (called the...

Jingles All the Way 

By Steve Skinner

If you're skilled at composing, arranging, and producing, there's money to be made writing music for advertising. As with television and film scoring,...

Better Safe Than Sorry 

By Mike Levine

Imagine spending an entire week working on a critically important music project. You toil day and night orchestrating, programming, and recording. You...

The Art of the Pad 

By Steve Skinner

What's the question that musicians hear the least? No, it isn't Is that the trombone player's Porsche? It's How'd you get that nice pad? One of the most...

Listening to Monitors 

By Rusty Cutchin

If you're thinking about buying your first set of dedicated studio monitors or about upgrading the ones you have, it can be daunting to try to assimilate...

Xtreme Processing 

By Eli Krantzberg

You can often use several instances of the same plug-in to achieve realistic-sounding effects. The cumulative result of serial processing with subtle...

Label Enablers 

By Jeffrey P. Fisher

In an ideal world, every musician would have professionally printed, slick-looking labels for the CDs and DVDs they record. But the reality is that when...

Gaining Tracktion 

By Jim Aikin

When Mackie unveiled Tracktion in 2004, more than a few industry veterans scratched their heads in perplexity. There were already several good digital...

Hired Guns 

By Michael Cooper

A couple of years ago, on the advice of famed producer Byron Gallimore, I began tracking my country-music song demos in Nashville. My Oregon-based studio...

Vive la Différence 

By Mark Ballora

We've all heard it: If you want to do a job right, use the right tool for the job. If your job is to record something, your main tool is the microphone....

Front and Center 

By Brian Heller

When we think of stereo recording, left/right stereo typically comes to mind: two independent channels of audio, one carrying information from the left...

Under the Surface 

By Eli Krantzberg

Your mouse and keyboard provide a great degree of precision, control, and accuracy for interfacing with your DAW. Hardware control surfaces, with their...

Revisiting the LFO 

By Brian Smithers

As a saxophonist, the first time I heard a keyboardist use LFO vibrato I almost choked. That was a long time ago, but in most synth patches, the LFO is...

Have Knowledge, Will Travel 

By Jeffrey P. Fisher

Several months ago, this column looked at how to leverage your recording smarts into technical-writing gigs (see Working Musician: Landing the Write Job...

(Not Quite) Random Notes 

By Len Sasso

In Ableton Live, each audio or MIDI clip that you place in a Session view slot contains a list of options that dictate what will happen after the clip...

On His Own Terms 

By Lorne Hammond

In the late '80s and early '90s, rap music and hip-hop culture were slowly working their way into the fabric of mainstream America. With acts like Jazzy...

Enveloping Strategies 

By Len Sasso

Most DAWs have two kinds of automation: time based and clip based. Time-based automation is tied to the DAW's timeline, whereas clip-based automation...

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