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Everyone has his or her own approach to writing new music. Some songwriters start with the lyrics while others choose to tackle the melody first. Some choose to write a song straight through, from intro to verse to chorus to verse 2 and so on. Others will start with the chorus as their focal point and will build every other piece of the arrangement around that.
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A battle that’s raged on for decades: additive vs. subtractive EQ. Many online forums have seen this topic, from the earliest days of audio production blogs to a few discussions that have gone off the rails in our own forum! People develop opinions, and whether the opinions are their own or ones that have been accepted from a colleague or mentor, they spread them.
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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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