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Follow Us On...

Jingles All the Way  May 1, 2006, 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  May 1, 2006, 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  May 1, 2006, 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...

Timing Is Everything  May 1, 2006, 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...

Label Enablers  Apr 1, 2006, 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  Apr 1, 2006, 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  Apr 1, 2006, 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...

Listening to Monitors  Apr 1, 2006, 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  Apr 1, 2006, 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...

Vive la Différence  Mar 1, 2006, 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  Mar 1, 2006, 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  Mar 1, 2006, 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  Mar 1, 2006, 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  Mar 1, 2006, 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...

Enveloping Strategies  Feb 1, 2006, 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...

On His Own Terms  Feb 1, 2006, 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...

(Not Quite) Random Notes  Feb 1, 2006, 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...

NATIVE INSTRUMENTS Absynth 3 (Mac/Win)  Jan 1, 2006, By Jonathan Segel In its original incarnation, which featured the now-familiar H. R. Giger-esque interface and sophisticated envelope programmability, Absynth was a shoe-in...

Making Connections with ReWire  Jan 1, 2006, By Matt Donner In today's desktop environment, musicians often need to integrate sound emanating from a wide variety of sources. Although working entirely on a computer...

Big Guitars in Small Spaces  Jan 1, 2006, By Orren Merton Guitarists with home studios constantly face the problem of recording the sound of their amplifiers while maintaining the peace. Keeping the neighbors...

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