This technique of removing the information in the middle of your mix using basic tools is useful for more than removing vocals from stereo mixes, though that can be fun too!
Following an error message when attempting to install a new studio software plug-in we can report an issue that may soon render the old Mac Pro Cheese Grater obsolete. This is a must read for those using old Mac Pro computers in their studios and who like to keep up to date with the latest software tools.
If you want to know what our most read articles for this week are then here is a summary of each one, read by around 100,000 of our community. The free Studio One 4.5.3 upgrade took top spot with continued huge interest in the PreSonus flagship DAW. Unsurprisingly FrontDAW from United Plugins, a plug-in worth €49 but free for a limited time, has also received a lot of attention and takes the number 2 slot. The excellent summary of gadgets for those using microphones in the studio has been popular, then followed by three articles helping with recording studio workflow.
There are times when I find my kick drums tracks can sound a bit forward in a mix. Of course we can lower the track’s level, use EQ and compression, maybe even a transient shaper to get our kicks to sit in a mix but have you ever tried adding small amounts of room reverb to your kick spot mics? In this video we demonstrate how this sounds.
The team at Universal Audio have today issued an advisory notice to all UAD-2, Apollo and Arrow interface customers about an issue that has been discovered with the UAD-2 AMS Neve RMX16 plug-in running as part of their 9.10 software release.
I don’t think there is a recording engineer, or producer out there who would say that they can pick the right mic for a vocalist first time, every time. Every voice is different, every mic is different and every recording scenario is different. I also hear you when you say that in these days of time sensitive, low budget tracking sessions there is no time to experiment, try new gear or just “have a play”. But what happens when you do have a play and try something new?
In this video we give you a quick guided tour of Lustrous Plates followed by a demo that shows you a number of different sounds you can achieve quickly on a lead vocal track.
In this free video tutorial, James Ivey and Engineer Producer Mike Exeter discuss how to incorporate stereo room microphones into your guitar recordings to create an ambient stereo effect.
In this free video tutorial we use LiquidSonics Seventh Heaven reverb to show you a visual representation of how a pre delay works along with a basic drum mixing application in which pre delay works very well.
Some equipment you buy because you like how it sounds. Some equipment you buy because you like how it works and some equipment you buy because it allows you to work faster. And then there is the gear you buy because it does all three. I’m quite new to the Amp/Speaker switcher party, but I’m in now and I’m staying. In this article I’ll tell you how the Amp/Speaker switcher works, show you how they can speed up your recording workflow and tell you about two units I have had the opportunity to try in my studio.
This article could easily have been titled “the great studio spring clean of 2019” as one of the major issues I had to deal with was a mass of extra cables in my rig. You know the sort of thing that was not really installed properly to “fix” an issue or run in a piece of gear for a demo or review session. But the main reason for this studio overhaul was to install not only a new piece of kit, but also a new and exciting way of working. Introducing the Patch, digitally controlled analogue patch back by Flock Audio.
In recent months I have been researching better ways to give my artists the best, most flexible monitoring system I can and in this article, I am going to share what I have come up with something that will work equally well both in the studio and out on location.
If you are new to mixing then make mastering low and high pass filters a priority as these are essential tools for producing focused sounding mixes that you will be proud of. Learn how to set a high pass filter in under 60 seconds in this free video tutorial
Guest contributor Chris Schmid has come up with an interesting alternative to iLok Cloud that works with all the software manufacturers that he has been using for years. It’s safe, it’s easy and in this article he explains how to set it up and use it.
There comes a time when we all either choose, or are forced to retire our computers. Often these machines are still in a perfectly serviceable condition but maybe our needs or requirements have changed or we just want MORE POWER! So maybe it’s time to sell it and help fund the next machine. OWC’s Steve Sande gives Mac users seven steps you should take before you Mac finally leaves your hands.
Sometimes great things happen through careful planning and preparation but often, amazing things happen when you least expect them and sometimes they happen totally by accident. There have been many of these “happy accidents” in studio history and I’d like to tell you about two of them. One very famous happy accident and then my moment of studio serendipity.
In this article we share seven golden rules of drum mixing to help you tackle your next live multitrack drum mix. The points presented are valuable rules that many top mix engineers use in order to work a set of drum channels together in a mix. These rules do not focus on specific plug-ins or processor techniques, instead these points are broad mindsets that can apply to your workflows to help you stay focused on mixing a drum kit as a single instrument instead of a collection of kit pieces.
Recently here in the UK, we saw the switch to British Summer Time, a sure sign that better weather is on the way (even in London). But there is still a chance of a cold snap and our valuable studio gear does not like changes in temperature. Steve Sande writing for the OWC blog takes up the story.
In this free video tutorial, brought to you with the support of Synchro Arts, you can see how I use a rough vocal I recorded with alternate phrasing as a guide to re-process the original vocal sung by someone else. The result is a new vocal part, with the original signer, singing my new melody and phrasing. If this isn’t magic, then I don’t know what is!