UJAM recently posted a story about a collaboration between singer songwriter Mara Kim and UJAM’s Peter Gorges which takes a piano and vocal demo through to a full production using UJAM’s Virtual Instruments. We look at the highlights of this project but visit the full blog post to hear first hand about the production process.
In the first of this pair of articles, I talked about the studio clean-up operation and the physical relocation of my studio toys getting ready for the addition of the Flock Audio Patch into my studio workflow. In this article I’m going to talk about setting up, routing and managing the Patch, some of the choices I had to make early on in the process and how Patch has changed my recording, mixing and mastering world.
Following on from our Object Based Audio article, in this article we will explore 3 case studies of applications for object based audio presented at the Dublin AES Convention from recent live events where engineers from the EBU, Fraunhofer and Dolby experimented with delivering object based audio to the end user.
In this video for Production Expert made with the support of Universal Audio, Technical Editor James Ivey invites 2 friends to record a track with him using 2 Universal Apollo X16 audio interfaces. James also shows how he uses the UA Apollo 16 Generation 2 in a console workflow allowing him to access many great UAD-2 effects emulations. We also answer the question about which sounds better the new Apollo X16 or Gen 2 Apollo 16 interface.
Any modern pop or rock track needs a good solid foundation. In this case we have a combination of real acoustic and programmed drums to give the song “Thought of love” by the Rooftop Renegades a good solid groove. Paul Drew of Production Expert, with the support of Universal Audio, shows how by using only Universal Audio UAD-2 plug-ins, he mixes the acoustic drums with some of the programmed percussion to give the track a driving feel.
With the primary tracking and recording finished, Paul Drew of Production Expert starts to mix the song “Thought of love” by the Rooftop Renegades. Paul shows how, exclusively using Universal Audio UAD-2 plug-in he is able to turn a well recorded vocal into a top line part that sits well in the track but allows the lyric to shine through.
As I’m sure many of you are aware, back in March 2017 I shut down my fully pimped 12 core “Cheese Grater” Mac Pro for potentially the final time. I was making the move to what, at the time, I referred to as “The Dark Side.” I was swapping out my 2009 Mac Pro for a brand new HP Z840 Workstation running Windows 10. This is the story of why I switched.
When it came to restoring the audio for a remastered version of the drama, Baywatch, for Amazon Prime, iZotope’s RX 6 Software, was used by Warner Brothers audio specialist, Brook Dillon to restore audio from every original Baywatch episode for the re-release on the streaming platform. Core modules in RX 6 like Dialogue Isolate and Spectral Repair were key tools in the restoration process, given the lack of stems, and Brook was able to give the audio a new, polished sound while still matching the original mix thanks to the tools in iZotope RX 6.
We recently featured an ingenious video from Youtuber Leomakes in which, by adding a transducer and pickup, he converted a steel shelf into a rudimentary plate reverb. It was a brilliant demonstration of how plate reverb works but sounded decidedly trashy. As any proper engineer would, in this follow up video he’s re-worked it and now, as well as still being ingenious, it actually sounds half decent too!
Here is an interesting video on the sound design of magic in the Harry Potter series of films. It is suggested that the Harry Potter series of films completely changed the sound of magic. Watch and find out…
The team at Audient recently spoke with Phil French and Tom Puttick from Cedar Studio to talk about their process in creating the sound effects and music for new game Two Point Hospital. If you have ever wondered what it takes to write music for a game and just how creative you have to be when it comes to making strange machine sounds this video gives you an insight into the process and creativity needed to populate the world of a modern gaming environment.
I was deeply honoured to be invited to Studiya Igorya Matvienko recording studios in the Russian capital, Moscow to lead an audio engineering workshop in association with Soyuz microphones and APS monitors. During this one day event we would record a four piece band then mix the track. You know the way records used to be made. This is the story of new found skills, great music and new friends.
Back in September 2017, having just finish a CD recording project for the National Children’s Choir of Great Britain with mobile recording company, Location Recordings, I was asked if I would like to quote to record both audio and video for the National Children's Choir Of Great Britain (NCCGB) 20th Anniversary concert at the Birmingham Town Hall. This article is the story of that project which saw my team and I record over 200 performers and singers to a capacity audience on Friday 10th August 2018.
If your experience with audio processors is mainly using plug-ins, it can be a challenge when you encounter an analog hardware device. There's no menu full of one-size-fits-all, celebrity engineer presets to get you started. The truth is if you want to grow as an engineer you're better off without presets. It forces you to jump into uncomfortable territory, do some research and use your ears to make decisions about what you like, or don't like, and if it works, or doesn't in any given situation. In this feature, we're going to explore hardware advantages and dig into the workings and setup of the revered 1176 compressor.
When recording vocals and acoustic instruments together in the same room, leakage can be your worst enemy. But by choosing the proper microphone and pattern, then placing them with care you can end up with usable tracks that don't fight each other.
This is a series of 5 videos produced for Avid, Giles Martin the award-winning music producer, composer and arranger in his own right, as well as the son of the legendary 5th Beatle and producer Sir George Martin, talks about what it takes to be a producer, working on a Cirque du Soleil and Beatles spectacular, remixing The Beatles, working on the Grammy-award winning documentary movie, ‘The Beatles: Eight Days a Week: The Touring Years’ and producing Paul McCartney.
The team from UK console and interface manufacturer Audient recently visited the musically amazing Graham Coxon (of Blur fame) to find out how he wrote and recorded the soundtrack for the hit Channel 4 and Netflix series 'The End Of The F***ing World'. Graham talks through how he recorded the song 'Walking All Day' at his home studio in London.
In this video James starts by showing you around his mix session and explains his initial routing choices such as the addition of a drum buss and two reverb sends. James then takes you through the processing he used on his tracks. Watch the video to hear each stage throughout his mixing process.
Julian recently had the pleasure of spending the day at ATC's factory in Stroud, or near Stroud as everything about ATC is refreshingly un-corporate, including their very down to earth factory in the beautiful Cotswold hills in the south west of the UK. He came away with a healthy respect for a small company doing something right.
The 60th annual Grammy awards reached an estimated 20 million viewers around the world when they were held back in January 28th at Madison Square Garden, New York City. The A32 AD/DA digital converter from German manufacturer Ferrofish played a pivotal role in the success of the evening’s elaborate live performances, which included high profile artists such as Kendrick Lamar, Gary Clark, Jr., Lady Gaga, Kesha and the big winner of the night, Bruno Mars.