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DI boxes are some of the most common recording tools found in studios, and more than any other instrument, bass guitars seem to be the heaviest users of these great devices. It makes sense – bass guitars have the heaviest low-end frequency content, which is an area that can muddy up quickly in small rooms, and tends to bleed over into other mics when tracking more than one instrument at a time.
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Long before the arrival of digital audio workstations, before computers, before MIDI, we had keys. Pre-dating recorded music; pianos were among the most popular instruments dating all the way back to the early 18th century. That’s where our story begins…
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We’ve talked a bit in the past about leaving your own sonic imprint to everything you work on. Whether you do so intentionally, or it’s a subconscious result of your workflow and approach, it’s undeniable that every single producer, engineer & mixer adds their own sound to each and every song they touch.
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We hear drums as these huge, booming things that drive the rhythm section of a song. A thumping kick drum on 1 and 3. The crack of a snare on 2 and 4. It’s the recipe for pop music for as long as popular music has been recorded.
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Any vocal engineer is going to tell you that the key to a good song is in the quality of the vocal. Of course they would - it’s their job to make sure that’s the case on every session they touch. But they’re not wrong…
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