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Time is money and that means the more time you take to make mix decisions is the less your time is worth (if you’re working at a project rate). If you’re someone that works an hourly rate, you’ll end up charging your clients for time that’s frankly wasted to them.
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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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Bass amps are a tricky piece of any mix. Too often it gives you way too much to work with and you need to carve it way down to fit your needs.
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