Written by Andrew Anderson on February 23, 2017 under Studio
Andrew Anderson talks to producer Shel Talmy about recording The Kinks, The Who, The Damned and Bowie and how he really got the crunchy guitar sound on You Really Got Me…
Written by Marc Henshall on February 23, 2017 under Studio
As an audio engineer, frequently turning your head to a wide variety of musical genres and productions comes with the territory. In the following Engineer Spotlight feature, we speak to recent MPG Engineer of the Year winner, Olga Fitzroy who we learn is no stranger to applying her skills across a broad spectrum.
Written by Justin Boller on December 13, 2016 under MicrophonesStudio
This educational post provides a simple definition of line-level and mic-level signals, explains the differences between them, and describes how to avoid audio problems by matching the right device to the appropriate input.
Written by Paul Crognale on November 23, 2015 under Studio
If you don’t already know his name, Cenzo Townshend is a legendary British Mix Engineer and winner of Mix Engineer of the Year at the Music Producers Guild in both 2009 and 2010. Listen to his Shure interview.
Written by Marc Henshall on August 5, 2015 under LiveStudio
In this article, we cover several solutions to help keep volume down, retain great tone, and save your hearing (possibly even your sanity) in the process.
Written by Marc Henshall on July 23, 2015 under LiveStudio
Here’s a tip you can put into action today that will immediately improve your audio endeavours across the board: inputs are more important than outputs. Find out why.
Written by Davida Rochman on June 15, 2015 under Studio
Musician Alexander Duvel stops by the Shure Performance Listening Center to share techniques for miking six of his favorite world instruments: the tabla, bansuri, dilruba, sitar, djembe, and cajon.
Written by Marc Henshall on June 8, 2015 under LiveMicrophonesStudio
In order to choose the right microphone, it’s crucial to understand the fundamentals of how a microphone picks up sound. The key to this is directionality.
Written by Marc Henshall on May 20, 2015 under LiveMicrophonesStudio
Mic directionality can be classified in three distinct types: omnidirectional, unidirectional, and bi-directional. Within these categories, there are a number of different directional patterns known as polar-patterns; the most commonly known types are cardioid and supercardioid. For a large number of common applications, these will get you pretty far – but what if your requirements are a little more specific?
Written by Marc Henshall on May 14, 2015 under Studio
Part six in our series about how to record drums. To finish our drum recording tuition, Jay walks trough the process of bringing an entire kit together.
Written by Marc Henshall on May 12, 2015 under Studio
In any recording where multiple microphones are used to capture a single sound source, the phase relationship between each microphone is critical. This post looks at this important factors in bringing a drum kit recording together.
Written by Marc Henshall on May 8, 2015 under Studio
Part 4 of our drum recording series focuses on compression. Compression is the most misunderstood, but also incredibly powerful tools at our disposal.
Written by Marc Henshall on April 22, 2015 under Studio
The electric guitar is the most successful and widely adopted instrument in modern popular music. When it comes to studio recording, the very things that make the electric guitar so versatile are also some of the aspects that make it a challenging instrument to record.
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