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Sometimes a tighter, more compressed sound is just what you need to give a small instrument a MASSIVE presence in your mix.
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The genres I want to talk about today have value in being some of the most difficult to work with while having a huge mainstream appeal. We won’t get into any kind of subgenre nonsense that’s difficult because you’ve never heard of it.
A great mix is going to sound amazing regardless of if you’re in a multi-million dollar studio, at home with some headphones, or playing back through a loudspeaker system at a concert. There are many key concepts that audio engineers can carry over from the studio to a live sound environment, but the similarities don’t just stop there.
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When it comes to mixing the three main types (overdrive, fuzz & distortion), is one inherently easier to work with than another?
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The process of recording and mixing acoustic instruments can be intimidating to producers that work predominantly in-the-box, but there’s really nothing to be nervous about.
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