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Have you ever finished mixing a song, printed everything down, and then been struck with the realization that it just doesn’t sound big enough?
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If you’re not using impulse responses in your workflow, you’re missing out on an entire world of consistent, accurate sound that you can replicate over and over again. There’s a level of sonic accuracy and detail in a well-captured IR that you’re going to be hard-pressed to find in an amp simulator.
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Electric guitars recorded directly into the computer are more commonplace in the studio than ever before - and for good reason. It’s easier to make edits to a DI track and you can tweak their sound as much as you want (at any point in the mix process).
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A 3-dimensional mix is necessary to remain competitive in the music industry. With track counts soaring higher all the time, engineers need more than the traditional LCR approach to combat particularly dense mixes.
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Okay, you caught us red-handed… We crushed the hell out of it. Cranked the Slay up to infinity and let it go to town. Fattened it up with a little extra Body and threw to the wolves (disclaimer: no wolves were involved in the making of this song, unfortunately).
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