Avsnitt
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In the first of a two-part series, Eddie Bazil explains how some simple adjustments in your DAW will help you to achieve more bounce in your drum beats, by adding syncopation, swing and dynamism.
Chapters
00:00 - Introduction
00:20 - A Quick History Of Beat Production
01:07 - Early Programmable Drum Machines
04:33 - Defining A Good Beat
05:15 - Example 1: Shifting The Snare To Drive A Beat
07:55 - Example 2: Altering Dynamics And Note Durations
10:51 - Example 3: Adding Urgency With A Backbeat
12:37 - Example 4: Creating Swing With The Hi-HatsEddie Bazil Biog
Eddie Bazil launched his music industry career at the age of 17 as a synth programmer for a range of Electro / New Wave bands including Art of Noise, Spandau Ballet, Pet Shop Boys, Bobin, Paul Dee, DJ Krush, DJ Shadow, Jets Orchestra. By his 20s he was working as a sound designer for Akai, Roland Emu/Ensoniq, eventually signing on exclusively with the latter. Later, due to a growing demand for software instruments and libraries, Eddie started to develop libraries for various software manufacturers, including Native Instruments, Kiesel, Sound Effects Library, Arturia and Propellerheads. A meeting with Phil Allen, a Capital Radio DJ, resulted in the company Samplecraze, which Eddie has spent 20 years developing as an educational resource. At this time he trained in music production and soon gained a number of prominent contracts working with some notable artistes such as Busta Rhymes, Greensleeves, 9 Bar, SFP, Sleeveless, Chris Campbell and Gam Productions. He contracted to Island Records and Chrysalis as a producer and remixer, plus was commissioned to write the score for Macbeth that ran at 2 Way Mirror at Alexander Palace for the Cambridge Shakespeare Company. His ongoing development of Samplecraze has led to him offering educational workshops and classes, releasing four books via PC Publishing and becoming a contributor and forum moderator for Sound On Sound. Recently he has established The Audio Production Hub for online education and been invited by the Recording Academy to become a Grammy judge.
https://eddiebazil.co.uk/https://samplecraze.com/
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A valuable test for recording engineers, David Mellor gives examples of different mic types to emphasise the importance of knowing your mic collection in detail so that you're using the correct one for the recording task at hand. Cardioid, Supercardioid, Figure of 8 and Omnidirectional are compared.
Chapters
00:00 - Introduction
00:23 - Testing The Schoeps CMC 6
01:44 - Cardioid Examples
05:39 - Testing With Percussion
06:33 - Supercardioid Examples
08:40 - Figure Of 8 Examples
11:22 - Omnidirectional Examples
14:05 - Testing With Percussion
14:58 - Testing Each Mic Type at 0 Degrees
17:00 - Testing Each Mic Type at 45 Degrees
18:19 - Testing Each Mic Type at 90 Degrees
19:42 - Testing Each Mic Type at 180 Degrees
21:15 - Summary
David Mellor Biog
David Mellor got his start in pro audio through the Tonmeister course at Surrey University studying music, piano performance, acoustics, electronics, electro-acoustics and recording.He went on to work at London's Royal Opera House, with responsibilities including sound design, front-of-house operation, stage monitoring and electronic design satisfying the likes of Luciano Pavarotti, Placido Domingo, Dame Kiri Te Kanawa and Karlheinz Stockhausen. He has also had over 600 works published in the field of production music, including the Chappell and Carlin music libraries (now combined into Universal Publishing Production Music). Notable uses of his music include the BBC's Horizon, Fahrenheit 911, and the Oprah Winfrey Show.
David has been actively involved in Audio Education since 1986, teaching students of City of Westminster College and Westminster University, and also returning to lecture at Surrey University. He also worked with John Cage on the International Dance Course at the University of Surrey. David now specialises in online audio education and has been Course Director of Audio Masterclass since 2001.
https://www.audiomasterclass.com/
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Saknas det avsnitt?
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In the first of this two-part series, David Mellor gives us an introduction to mic polar patterns, explaining the best type of mic to use for various recording situations.
Chapters
00:00 - Introduction
00:43 - Influenced By The EMI Emiguide Tapes
04:08 - What Is A Polar Pattern?
06:46 - Omnidirectional and Figure Of 8
08:43 - Cardioid, Hypercardioid and Super-Cardioid
11:14 - Pressure-Sensitive and Pressure Gradient
11:58 - Imperfections In Higher And Lower Frequencies
13:01 - The Decca Tree
14:06 - Abbey Road Demonstration
15:32 - 0 degree axis Figure Of 8
16:10 - 90 degree axis Figure Of 8
16:48 - 180 degree axis Figure Of 8
17:30 - 270 degree axis Figure Of 8
19:01 - Multi-Pattern Microphones
19:58 - Best Usage
24:26 - Interference Tube, Parabolic Reflector
26:23 - Experimenting With Off-Axis
David Mellor Biog
David Mellor got his start in pro audio through the Tonmeister course at Surrey University studying music, piano performance, acoustics, electronics, electro-acoustics and recording.He went on to work at London's Royal Opera House, with responsibilities including sound design, front-of-house operation, stage monitoring and electronic design satisfying the likes of Luciano Pavarotti, Placido Domingo, Dame Kiri Te Kanawa and Karlheinz Stockhausen. He has also had over 600 works published in the field of production music, including the Chappell and Carlin music libraries (now combined into Universal Publishing Production Music). Notable uses of his music include the BBC's Horizon, Fahrenheit 911, and the Oprah Winfrey Show.
David has been actively involved in Audio Education since 1986, teaching students of City of Westminster College and Westminster University, and also returning to lecture at Surrey University. He also worked with John Cage on the International Dance Course at the University of Surrey. David now specialises in online audio education and has been Course Director of Audio Masterclass since 2001.
https://www.audiomasterclass.com/
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Paul White and Hugh Robjohns pick their software and hardware highlights from the last 12 months.
Chapters
00:00 - Introduction
00:16 - Universal Audio Waterfall Rotary Speaker
03:25 - Boss GM-800 Guitar Synthesizer
04:24 - Tokyo Dawn Records Simulathe Cut
06:33 - PreSonus Eris 3.5 Studio Monitors
07:32 - Prism Audio Dream ADA-128
10:07 - Walrus Audio Fable Granular Soundscape Generator10:59 - Blackstar St. James Amp Plug-ins
11:55 - Zoom F8n Pro Field Recorder
14:13 - Strymon BigSky Multi Reverb / Deco Tape Saturation
14:49 - Line 6 HX One PedalPaul White Biog
Paul White initially trained in electronics at The Royal Radar Establishment in Malvern then went on to work with Malvern Instruments, a company specialising in laser analysis equipment, before moving into technical writing.He joined the Sound On Sound team in 1991 where he became Editor In Chief, a position he held for many years before recently becoming Executive Editor. Paul has written more than 20 recording and music technology textbooks, the latest being The Producer’s Manual.
Having established his own multitrack home studio in the 1980s he’s worked with many notable names including Bert Jansch and Gordon Giltrap. He’s played in various bands over the years and currently collaborates with Malvern musician Mark Soden, under the name of Cydonia Collective. Paul still performs live claiming that as he has suffered for his music he doesn’t see why everyone else shouldn’t too!
http://www.cydoniacollective.co.uk/
Hugh Robjohns Biog
Hugh Robjohns has been Sound On Sound´s Technical Editor since 1997. Prior to that he worked in a variety of (mostly) sound-related roles in BBC Television, ending up as a Sound Operations Lecturer at the BBC´s technical training centre. He continues to provide audio consultancy and bespoke broadcast audio training services all over the world, lectures at professional and public conventions, and occasionally records and masters acoustic and classical music too! -
In the third and final part of this series, Rob Toulson focuses on recording drums and talks us through the issue of frequency cancellation in a multiple mic setup, details how to choose the recording sweet spot in a room and explains the various stereo mic technique options that are available.
See the Show Notes for further details.Chapters
00:00 - Introduction
00:52 - Phase Coherence
03:00 - Time Delays
05:10 - Comb Filtering
07:53 - Flipping The Polarity
12:22 - Choosing A Recording Space
14:56 - Mic Choice And Placement
17:43 - Stereo Techniques
18:08 - Spaced Pair Technique
19:02 - Glyn Johns Mic Technique
20:12 - Coincident Pair Technique
21:16 - ORTF Technique
22:20 - Mid-Side Technique
24:30 - Comparing The Techniques
25:22 - Other Mic TechniquesProfessor Rob Toulson Biog
Rob is Director of RT60 Ltd, who develop mobile apps for musicians and sound engineers. RT60’s iDrumTune Pro app assists drummers with learning the skills of drum tuning and has been the number one music app in over 100 countries since its launch in 2012. More recently, Rob and RT60 developed Songzap, which simplifies the process of recording and capturing musical ideas, enabling songwriters to focus exclusively on their creativity.
Rob stared his career as a mechanical engineer with a doctorate in digital signal processing, before following his passion and moving into the field of music technology and specialising in percussion acoustics and audio software development. Rob has held a number of academic research roles in his career, including Professor of Creative Industries at University of Westminster and Director of the CoDE Research Institute at Anglia Ruskin University. Rob’s also a successful musician, music producer and sound designer, having worked with many artists including Talvin Singh, Wilfy Williams and Mediaeval Baebes, who have previously topped the UK Classical Music Chart.Rob is author of a number of music related books and articles, including ‘Drum Sound and Drum Tuning’, published by Routledge in 2021, and co-editor of the ‘Innovation In Music’ book series, which is also published by Routledge. His sound design work has been included in films by BAFTA Winner Shreepali Patel and has been showcased at Glastonbury Festival, The V&A and The Natural History Museum.
https://www.robtoulson.com/
https://www.rt60.uk/ -
In part 2 of this 3-part series, Rob Toulson explains how to optimise the drum sound for recording by experimenting with drum head, damping system, tuning and drum shell combinations.
Chapters
00:00 - Introduction
01:09 - Drum Heads
01:44 - Mersenne's Laws
04:05 - 1 and 2 Ply Drum Heads
05:45 - Damping Systems
07:10 - Centre Dot Drum Heads
09:27 - Choosing Your Timbre
11:44 - Selecting Your Drum Shells
14:25 - Optimising The Whole Kit
19:41 - Tuning The Kick DrumProfessor Rob Toulson Biog
Rob is Director of RT60 Ltd, who develop mobile apps for musicians and sound engineers. RT60’s iDrumTune Pro app assists drummers with learning the skills of drum tuning and has been the number one music app in over 100 countries since its launch in 2012. More recently, Rob and RT60 developed Songzap, which simplifies the process of recording and capturing musical ideas, enabling songwriters to focus exclusively on their creativity.
Rob stared his career as a mechanical engineer with a doctorate in digital signal processing, before following his passion and moving into the field of music technology and specialising in percussion acoustics and audio software development. Rob has held a number of academic research roles in his career, including Professor of Creative Industries at University of Westminster and Director of the CoDE Research Institute at Anglia Ruskin University. Rob’s also a successful musician, music producer and sound designer, having worked with many artists including Talvin Singh, Wilfy Williams and Mediaeval Baebes, who have previously topped the UK Classical Music Chart.Rob is author of a number of music related books and articles, including ‘Drum Sound and Drum Tuning’, published by Routledge in 2021, and co-editor of the ‘Innovation In Music’ book series, which is also published by Routledge. His sound design work has been included in films by BAFTA Winner Shreepali Patel and has been showcased at Glastonbury Festival, The V&A and The Natural History Museum.
https://www.robtoulson.com/
https://www.rt60.uk/ -
Rob Toulson dives into the science behind how drums produce sound in this three-part series. In part one he talks us through the different pitches, frequencies and overtones, to help producers, recording engineers and indeed drummers to better understand the essentials of tuning.
Chapters
00:00 - Introduction
01:16 - Dealing With Multiple Frequencies
05:19 - Tuning The Fundamental Frequency
10:56 - Smoothing Out Modulation
13:31 - Harmonic Overtones
19:12 - Controlling Decay And Damping
23:11 - SummaryProfessor Rob Toulson Biog
Rob is Director of RT60 Ltd, who develop mobile apps for musicians and sound engineers. RT60’s iDrumTune Pro app assists drummers with learning the skills of drum tuning and has been the number one music app in over 100 countries since its launch in 2012. More recently, Rob and RT60 developed Songzap, which simplifies the process of recording and capturing musical ideas, enabling songwriters to focus exclusively on their creativity.
Rob stared his career as a mechanical engineer with a doctorate in digital signal processing, before following his passion and moving into the field of music technology and specialising in percussion acoustics and audio software development. Rob has held a number of academic research roles in his career, including Professor of Creative Industries at University of Westminster and Director of the CoDE Research Institute at Anglia Ruskin University. Rob’s also a successful musician, music producer and sound designer, having worked with many artists including Talvin Singh, Wilfy Williams and Mediaeval Baebes, who have previously topped the UK Classical Music Chart.Rob is author of a number of music related books and articles, including ‘Drum Sound and Drum Tuning’, published by Routledge in 2021, and co-editor of the ‘Innovation In Music’ book series, which is also published by Routledge. His sound design work has been included in films by BAFTA Winner Shreepali Patel and has been showcased at Glastonbury Festival, The V&A and The Natural History Museum.
https://www.robtoulson.com/
https://www.rt60.uk/ -
Eddie Bazil dives into some of his favourite plug-ins and gives us a series of examples on how to use these tools creatively for designing unique and interesting beats, sequences and mixes.
Chapters
00:00 - Introduction
00:21 - What Makes A Tool Creative?
03:25 - Example 1: A Cinematic Piano Effect
07:03 - Example 2: Creating A More Dynamic Beat
10:19 - Example 3: Sequencer-Based Multi Effects On A Drum Beat
13:26 - Example 4: Reshaping A Musical Sequence
21:21 - Example 5: A Sound Design ExerciseCredits
‘Puppet’ track written, performed and recorded by John WaldenVocals by Yvonne McKeown
Eddie Bazil Biog
Eddie Bazil launched his music industry career at the age of 17 as a synth programmer for a range of Electro / New Wave bands including Art of Noise, Spandau Ballet, Pet Shop Boys, Bobin, Paul Dee, DJ Krush, DJ Shadow, Jets Orchestra. By his 20s he was working as a sound designer for Akai, Roland Emu/Ensoniq, eventually signing on exclusively with the latter. Later, due to a growing demand for software instruments and libraries, Eddie started to develop libraries for various software manufacturers, including Native Instruments, Kiesel, Sound Effects Library, Arturia and Propellerheads. A meeting with Phil Allen, a Capital Radio DJ, resulted in the company Samplecraze, which Eddie has spent 20 years developing as an educational resource. At this time he trained in music production and soon gained a number of prominent contracts working with some notable artistes such as Busta Rhymes, Greensleeves, 9 Bar, SFP, Sleeveless, Chris Campbell and Gam Productions. He contracted to Island Records and Chrysalis as a producer and remixer, plus was commissioned to write the score for Macbeth that ran at 2 Way Mirror at Alexander Palace for the Cambridge Shakespeare Company. His ongoing development of Samplecraze has led to him offering educational workshops and classes, releasing four books via PC Publishing and becoming a contributor and forum moderator for Sound On Sound. Recently he has established The Audio Production Hub for online education and been invited by the Recording Academy to become a Grammy judge.
https://eddiebazil.co.uk/https://samplecraze.com/
https://theaudioproductionhub.pivotshare.com/
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In this fourth and final episode, David Mellor, a sound engineer and the founder and Course Director of Audio Masterclass, delves into Gain Staging your plug-ins and how to avoid clipping during the mixing and mastering stages.
Chapters
00:00 - Introduction
00:50 - Gain Staging Your Plug-ins
08:08 - 32-Bit Float
11:35 - Mixing And Mastering
16:27 - Gain Staging The Mix
19:32 - Headroom
21:50 - Mastering Using LUFS
David Mellor Biog
David Mellor got his start in pro audio through the Tonmeister course at Surrey University studying music, piano performance, acoustics, electronics, electro-acoustics and recording.He went on to work at London's Royal Opera House, with responsibilities including sound design, front-of-house operation, stage monitoring and electronic design satisfying the likes of Luciano Pavarotti, Placido Domingo, Dame Kiri Te Kanawa and Karlheinz Stockhausen. He has also had over 600 works published in the field of production music, including the Chappell and Carlin music libraries (now combined into Universal Publishing Production Music). Notable uses of his music include the BBC's Horizon, Fahrenheit 911, and the Oprah Winfrey Show.
David has been actively involved in Audio Education since 1986, teaching students of City of Westminster College and Westminster University, and also returning to lecture at Surrey University. He also worked with John Cage on the International Dance Course at the University of Surrey. David now specialises in online audio education and has been Course Director of Audio Masterclass since 2001.
https://www.audiomasterclass.com/
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David Mellor, a sound engineer and the founder and Course Director of Audio Masterclass, introduces us to Gain Staging in a brand new series of podcasts. In the third episode David continues looking at preamps, outlines the use of VU Meters and talks about the benefits of balancing a track prior to mixing.
Chapters
00:00 - Introduction
00:56 - More About Preamps
05:38 - Preamps With Valves
09:20 - The Mixing Process
16:17 - Using VU Meters
24:05 - Mixing During RecordingListen to Gain Staging Episode 1
Listen to Gain Staging Episode 2
David Mellor Biog
David Mellor got his start in pro audio through the Tonmeister course at Surrey University studying music, piano performance, acoustics, electronics, electro-acoustics and recording.He went on to work at London's Royal Opera House, with responsibilities including sound design, front-of-house operation, stage monitoring and electronic design satisfying the likes of Luciano Pavarotti, Placido Domingo, Dame Kiri Te Kanawa and Karlheinz Stockhausen. He has also had over 600 works published in the field of production music, including the Chappell and Carlin music libraries (now combined into Universal Publishing Production Music). Notable uses of his music include the BBC's Horizon, Fahrenheit 911, and the Oprah Winfrey Show.
David has been actively involved in Audio Education since 1986, teaching students of City of Westminster College and Westminster University, and also returning to lecture at Surrey University. He also worked with John Cage on the International Dance Course at the University of Surrey. David now specialises in online audio education and has been Course Director of Audio Masterclass since 2001.
https://www.audiomasterclass.com/
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David Mellor, a sound engineer and the founder and Course Director of Audio Masterclass, introduces us to Gain Staging in a brand new series of podcasts. In the second episode David focuses on gain staging during recording, by balancing mic input, preamps and gain within your DAW to achieve the optimal sound level.
Chapters
00:00 - Introduction
00:40 - Dynamic Microphones
05:19 - Capacitor Microphones
11:25 - Gain Staging First Step
14:00 - The Pre-amp
16:39 - Headroom
20:49 - Audio Examples
David Mellor Biog
David Mellor got his start in pro audio through the Tonmeister course at Surrey University studying music, piano performance, acoustics, electronics, electro-acoustics and recording.He went on to work at London's Royal Opera House, with responsibilities including sound design, front-of-house operation, stage monitoring and electronic design satisfying the likes of Luciano Pavarotti, Placido Domingo, Dame Kiri Te Kanawa and Karlheinz Stockhausen. He has also had over 600 works published in the field of production music, including the Chappell and Carlin music libraries (now combined into Universal Publishing Production Music). Notable uses of his music include the BBC's Horizon, Fahrenheit 911, and the Oprah Winfrey Show.
David has been actively involved in Audio Education since 1986, teaching students of City of Westminster College and Westminster University, and also returning to lecture at Surrey University. He also worked with John Cage on the International Dance Course at the University of Surrey. David now specialises in online audio education and has been Course Director of Audio Masterclass since 2001.
https://www.audiomasterclass.com/
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David Mellor, a sound engineer and the founder and Course Director of Audio Masterclass, introduces us to Gain Staging in a brand new series of podcasts. In this first episode he teaches the correct use of terminology and gives his three golden rules of Gain Staging.
Chapters
00:00 - Introduction
01:38 - Using The Correct Terminology
05:56 - Why Use Gain Staging?
11:04 - The Benefits Of Gain Staging
15:31 - Working In Digital Audio
27:17 - Three Golden Rules Of Gain StagingDavid Mellor Biog
David Mellor got his start in pro audio through the Tonmeister course at Surrey University studying music, piano performance, acoustics, electronics, electro-acoustics and recording.He went on to work at London's Royal Opera House, with responsibilities including sound design, front-of-house operation, stage monitoring and electronic design satisfying the likes of Luciano Pavarotti, Placido Domingo, Dame Kiri Te Kanawa and Karlheinz Stockhausen. He has also had over 600 works published in the field of production music, including the Chappell and Carlin music libraries (now combined into Universal Publishing Production Music). Notable uses of his music include the BBC's Horizon, Fahrenheit 911, and the Oprah Winfrey Show.
David has been actively involved in Audio Education since 1986, teaching students of City of Westminster College and Westminster University, and also returning to lecture at Surrey University. He also worked with John Cage on the International Dance Course at the University of Surrey. David now specialises in online audio education and has been Course Director of Audio Masterclass since 2001.
https://www.audiomasterclass.com/
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Eddie Bazil demystifies Compression and Expansion with a detailed explanation of their uses and with a range of practical examples using plug-ins.
Chapters
00:00 - Introduction
00:22 - Compressors And Expanders Explained
01:33 - Compressor Behavioural Types
02:40 - Common Compressor Topologies
06:06 - Example 1: Boz Digital Manic Compressor On Drums
10:26 - Example 2: FabFilter Pro MB On A Synth Line
13:28 - Example 3: PreSonus Studio One Expander On A Drum Beat
15:26 - Example 4: A Drum Beat Using Different Topologies
20:24 - Example 5: Using Sidechaining On Reverb
23:28 - Example 6: FabFilter Pro MB On A Vocal Line
27:16 - Example 7: Sidechain Compression And Expansion To Create Texture And MotionCredits
Example 6 - The song and the poem are both called Everyone Sang. The poem was by Sigfried Sassoon and was set to music and performed by Anne Gregson.
www.annegregson.co.uk
Recorded at www.mrpunch.info
Eddie Bazil Biog
Eddie Bazil launched his music industry career at the age of 17 as a synth programmer for a range of Electro / New Wave bands including Art of Noise, Spandau Ballet, Pet Shop Boys, Bobin, Paul Dee, DJ Krush, DJ Shadow, Jets Orchestra. By his 20s he was working as a sound designer for Akai, Roland Emu/Ensoniq, eventually signing on exclusively with the latter. Later, due to a growing demand for software instruments and libraries, Eddie started to develop libraries for various software manufacturers, including Native Instruments, Kiesel, Sound Effects Library, Arturia and Propellerheads. A meeting with Phil Allen, a Capital Radio DJ, resulted in the company Samplecraze, which Eddie has spent 20 years developing as an educational resource. At this time he trained in music production and soon gained a number of prominent contracts working with some notable artistes such as Busta Rhymes, Greensleeves, 9 Bar, SFP, Sleeveless, Chris Campbell and Gam Productions. He contracted to Island Records and Chrysalis as a producer and remixer, plus was commissioned to write the score for Macbeth that ran at 2 Way Mirror at Alexander Palace for the Cambridge Shakespeare Company. His ongoing development of Samplecraze has led to him offering educational workshops and classes, releasing four books via PC Publishing and becoming a contributor and forum moderator for Sound On Sound. Recently he has established The Audio Production Hub for online education and been invited by the Recording Academy to become a Grammy judge.
https://eddiebazil.co.uk/https://samplecraze.com/
https://theaudioproductionhub.pivotshare.com/
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Paul White takes us through the history and evolution of guitar synths, from early attempts at creating onboard sounds and audio to MIDI pick-ups, through to using pedals and plug-ins to emulate synth effects.
Chapters
00:00 - Introduction
00:13 - Types of Guitar Synths
04:03 - The Introduction Of MIDI
05:19 - Pitch To MIDI Pickups
08:04 - Alternative Systems
10:38 - Using Pedals To Emulate Synths
13:31 - Introducing Plug-ins
15:10 - The Future Of Audio To MIDIPaul White Biog
Paul White joined the Sound On Sound team in 1991 where he became Editor In Chief, a position he held for many years before recently becoming Executive Editor. Paul has written more than 20 recording and music technology textbooks, the latest being The Producer’s Manual.Having established his own multitrack home studio in the 1970s he’s worked with many notable names including Bert Jansch and Gordon Giltrap. He’s played in various bands over the years and currently collaborates with Malvern musician Mark Soden, under the name of Cydonia Collective. Paul still performs live claiming that as he has suffered for his music he doesn’t see why everyone else shouldn’t too!
http://www.cydoniacollective.co.uk/
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Paul White explains how to get the best out of Amp Simulation software, from getting a good guitar input signal, setting up effective monitoring for encouraging the best performance and tips on achieving the desired end-effect.
Chapters
00:00 - Introduction
00:50 - Getting A Guitar Signal
03:39 - Dealing With Latency
04:42 - Monitoring
05:54 - Using Your Own Pedals
08:15 - Using Speaker Cabinet Emulations
09:11 - Adding Room Ambience
10:00 - Creative Sound Design
10:27 - Using Amp Modelling With Other InstrumentsPaul White Biog
Paul White joined the Sound On Sound team in 1991 where he became Editor In Chief, a position he held for many years before recently becoming Executive Editor. Paul has written more than 20 recording and music technology textbooks, the latest being The Producer’s Manual.Having established his own multitrack home studio in the 1970s he’s worked with many notable names including Bert Jansch and Gordon Giltrap. He’s played in various bands over the years and currently collaborates with Malvern musician Mark Soden, under the name of Cydonia Collective. Paul still performs live claiming that as he has suffered for his music he doesn’t see why everyone else shouldn’t too!
http://www.cydoniacollective.co.uk/
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Paul White and Hugh Robjohns pick their hardware and software highlights from the last 12 months, plus feature some late arrivals.
Chapters
00:00 - Introduction
00:14 - ASM Hydrasynth Deluxe
02:01 - Boss RE-202 Space Echo / IK Multimedia Amplitube X-SPACE Reverb / Red Panda Particle 2 Granular Delay
02:57 - Moogerfooger Plug-ins / UAFX Amp Emulator Pedals
04:12 - IK Multimedia Amplitube TONEX Amp Simulation Software
04:47 - Arturia Efx Fragments Granular Delay / Eventide Physion II
05:25 - PMC6-2 Monitors
07:00 - MiMU Jellyfish Granular Synth
07:45 - The Great Chip Shortage
09:11 - Rob Papen eXplorer-8 Bundle / Sub51 and Soundtrax Drop Pad10:26 - Sonnect Audio Sound Bullet
11:46 - Eventide H90 Harmonizer® Multi-FX Pedal / Two notes ReVolt Amp Simulator Pedal
13:38 - Waves BB Tubes Plug-in
14:27 - Hardware Recorders
17:05 - Synth Sounds For GuitarPaul White Biog
Paul White initially trained in electronics at The Royal Radar Establishment in Malvern then went on to work with Malvern Instruments, a company specialising in laser analysis equipment, before moving into technical writing.He joined the Sound On Sound team in 1991 where he became Editor In Chief, a position he held for many years before recently becoming Executive Editor. Paul has written more than 20 recording and music technology textbooks, the latest being The Producer’s Manual.
Having established his own multitrack home studio in the 1980s he’s worked with many notable names including Bert Jansch and Gordon Giltrap. He’s played in various bands over the years and currently collaborates with Malvern musician Mark Soden, under the name of Cydonia Collective. Paul still performs live claiming that as he has suffered for his music he doesn’t see why everyone else shouldn’t too!
http://www.cydoniacollective.co.uk/
Hugh Robjohns Biog
Hugh Robjohns has been Sound On Sound´s Technical Editor since 1997. Prior to that he worked in a variety of (mostly) sound-related roles in BBC Television, ending up as a Sound Operations Lecturer at the BBC´s technical training centre. He continues to provide audio consultancy and bespoke broadcast audio training services all over the world, lectures at professional and public conventions, and occasionally records and masters acoustic and classical music too! -
In the final episode of this 5 part series, Mark Mynett, sound engineer and senior lecturer at Huddersfield University, gives us an in-depth look at how to process and mix the various elements of a song recorded using live instruments.
Chapters
00:16 - Introduction
01:36 - Mix Preparation: Performance Edits and Mix Groups
01:00 - Polarity Summation
07:27 - Waveform Edits and Gating
09:48 - Multing
10:20 - Drum Sample Implementation
10:57 - Three Approaches To Mixing
12:56 - Master Buss Processing
14:28 - Compression and EQ: Signal Chain Order
16:07 - Compression Topology
19:43 - Drums: Compression, Signal Stability, Transient Design and Colouration
32:53 - Drums: Parallel Compression
37:09 - Drums: EQ
47:45 - Drums: Reverb Processing
49:40 - Bass: Compression and EQ
54:38 - Acoustic Guitar: Compression and EQ56:19 - Harmonically Distorted Electric Guitar: EQ, Dynamic EQ and Multi-band Compression
60:28 - Vocals: Compression and EQ
65:46 - Vocals: Effects Processing
Mark Mynett Biog
As well as Senior Lecturer in Music Technology and Production at Huddersfield University, Mark Mynett is a live music front-of-house engineer, and record producer/engineer/mix and mastering engineer. Mainly focused on indie, rock and metal genres, he produces from his own studio - Mynetaur Productions – where he recently completed the latest My Dying Bride album ‘The Ghost of Orion’: referred to by Dom Lawson (The Guardian, Metal Hammer, Prog, Classic Rock) as “…a master class in modern metal production”.
Metal Music Manual (instructional book for producing contemporary metal music) -
Mark Mynett, sound engineer and senior lecturer at Huddersfield University, presents part four of his recording series. Here he details how to prepare a vocalist for studio recording and how to select and set up your recording equipment for optimal results.
Chapters
00:15 - Introduction
00:31 - Preparing For Vocal Recording
05:08 - Recording Vocals At Home
06:53 - Microphone Selection
14:41 - Microphone Placement
24:05 - Printed Compression
30:27 - Headphone Cue Mix
Mark Mynett Biog
As well as Senior Lecturer in Music Technology and Production at Huddersfield University, Mark Mynett is a live music front-of-house engineer, and record producer/engineer/mix and mastering engineer. Mainly focused on indie, rock and metal genres, he produces from his own studio - Mynetaur Productions – where he recently completed the latest My Dying Bride album ‘The Ghost of Orion’: referred to by Dom Lawson (The Guardian, Metal Hammer, Prog, Classic Rock) as “…a master class in modern metal production”.
Metal Music Manual (instructional book for producing contemporary metal music) -
Mark Mynett, sound engineer and senior lecturer at Huddersfield University, details best practices for setting up and recording rhythm and lead guitar parts.
Chapters
00:00 - Introduction
00:40 - How To Manage Distortion
06:10 - Pre-Recording Preparation
07:16 - Double Tracking And Quad Tracking
09:07 - Finding A Clear Midrange Tone
14:20 - Isolation And Ambience
15:46 - Microphone Selection
19:23 - Mic Placement
25:17 - Multitracking Tips
34:03 - Recording Guitar Solos
36:39 - Adding EQ At The Recording Stage
Mark Mynett Biog
As well as Senior Lecturer in Music Technology and Production at Huddersfield University, Mark Mynett is a live music front-of-house engineer, and record producer/engineer/mix and mastering engineer. Mainly focused on indie, rock and metal genres, he produces from his own studio - Mynetaur Productions – where he recently completed the latest My Dying Bride album ‘The Ghost of Orion’: referred to by Dom Lawson (The Guardian, Metal Hammer, Prog, Classic Rock) as “…a master class in modern metal production”.
Metal Music Manual (instructional book for producing contemporary metal music)Audio Clips: Baron Carta
Baron Carta at Spotify -
Mark Mynett, sound engineer and senior lecturer at Huddersfield University, talks us through prepping for and recording a bass session, including ways to generate multiple layered tracks for use in your final mix.
Chapters
00:00 - Introduction
01:30 - 1. Intonation And Tuning
02:54 - 2. Active DI Boxes
06:00 - 3. Amp, Cab And Mic Setup
14:01 - 4. Layering Bass Sounds
17:51 - 5. Introducing Distortion
Mark Mynett Biog
As well as Senior Lecturer in Music Technology and Production at Huddersfield University, Mark Mynett is a live music front-of-house engineer, and record producer/engineer/mix and mastering engineer. Mainly focused on indie, rock and metal genres, he produces from his own studio - Mynetaur Productions – where he recently completed the latest My Dying Bride album ‘The Ghost of Orion’: referred to by Dom Lawson (The Guardian, Metal Hammer, Prog, Classic Rock) as “…a master class in modern metal production”.
Metal Music Manual (instructional book for producing contemporary metal music) - Visa fler
