Knowing Your Orchestrator
There’s an infinite number of ways in which a song can be arranged, and this is one of the reasons why recording orchestral music is both a joy and a challenge. When I’m preparing for a recording...
View ArticleMid-Side Processing
In my post on Mid-Side microphone technique, I mentioned that some people like to use this type of miking because it allows you to process the mid channel and the sides separately, but as I mentioned...
View ArticleAuto-Tune Categorized
Over the last few days, I’ve been listening to the five albums nominated for this year’s Best Engineering Non-Classical Grammy award, and I was surprised to hear that two of the five nominees were...
View Article3 Ways Of Prioritizing Headphone Feeds
Hey! I just found out that I will be recording the broadway cast album of “Porgy And Bess”! I went to see the show a few days ago, and thoroughly enjoyed it! I’ve been starting to think about how I’ll...
View ArticleBigger Isn’t Always Better – The Recording Of Sweet Little Devil
I recently finished working on an album called Sweet Little Devil. This is one of George Gershwin’s earlier musicals, and it is his earliest surviving score. The album is being released by PS...
View ArticleThe Recording Of Porgy And Bess
The cast album recording of Porgy And Bess hits the stores today, so I figured I’d put together a few words about the process of recording, editing, and mixing it. This is a powerhouse of a show...
View Article3 Ways Of Treating Room Mics – The Making Of “Merrily We Roll Along”
So I finished the “Merrily We Roll Along” record a few days ago. I really like recording Broadway cast albums, especially Stephen Sondheim’s stuff. They’re always big, involved, and each one presents...
View ArticleHow To Mis-use a De-esser
OK. I just gotta get this off my chest. Most of the time, I use de-essers totally the wrong way. I know, it’s terrible! If you have any experience with Audio Engineering, then you probably know that...
View ArticleI Hate Sustain
Working with MIDI in Pro Tools, there’s one thing that’s always bothered me. Well, no. There’s several things that bother me about working with MIDI in Pro Tools, but for once, I’ve been able to...
View ArticleTwo Recording Advice Nuggets From Bob Power
A few days ago, I attended an event hosted by the Recording Academy featuring Bob Power. With an original and captivating teaching style, he bestowed some unusual advice upon the audience. Some of the...
View ArticleDon’t Be Afraid of Leakage – The Recording of Passion
The more I push the boundaries of minimal isolation in an orchestral setting, the more I’m pleasantly surprised with how much I can get away with. Engineers are often encouraged to gobo off...
View ArticleThree Killer Features of Ableton Live
After using exclusively Pro Tools as my DAW for over a decade, I decided to broaden my horizons. Over the last year, I’ve been digging deep into Ableton Live, and I can now consider myself fairly...
View ArticleLoving The 4live.me One
Hey, I just wanted to give a quick shout out to Yehezkel Raz at 4live.me. He makes some great Ableton Live devices, and one of them is super useful. It’s called One, and it allows you to assign any CC...
View ArticleMy Experience With Ableton Push
Earlier this year, I got my hands on an Ableton Push, thanks to good folks at Ableton, and I’ve been putting it through its paces for long enough to really see how it fits into my workflow. There’s...
View ArticleIzotope RX3
Don’t you get the feeling that every plugin out there does pretty much the same thing? How many different eqs, compressors and reverbs do we really need? Isn’t it cool when you come across a plugin...
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