by Ian Stewart, iZotope Contributor October 9, 2019
With the arrival of Ozone 9, the powerful Vintage modules—previously only available in Advanced versions—are now part of Standard. Whether these modules are brand new to you, or you’ve had them in your back pocket for a while, but have been unsure about how and when to use them, this article is for you!
by Nick Messitte, iZotope Contributor September 18, 2019
In an earlier article called “Expanding on compression” I covered unusual forms of dynamic processing, including upwards compression. Neutron 3 offers the ability to implement upwards compression, so I thought it would be useful to cover it further.
by Nick Messitte, iZotope Contributor September 18, 2019
Neutron 3 Advanced sports a feature called Mix Assistant. Its aim is simple: to give you a good static mix and let you get to the fun parts of mixing faster.
by Nick Messitte, iZotope Contributor September 19, 2019
This article concerns itself with the genre of modern pop, but therein lies a problem: pop is a curious music, as it’s the only genre that is not a genre by definition. Whatever is popular, that is pop. “A Fifth of Beethoven,” Frozen’s “Let It Go,” and “Old Town Road” sound nothing alike, and yet they are all pop.
by Daniel Dixon, iZotope Contributor September 19, 2019
We spend a lot of time showing folks how to use plug-ins across their mix. But with every video tutorial and list of tips we publish, there is a caveat: be careful not to get carried away.
We’re still in September, it’s still Studio One’s 10th anniversary, and so once again the Friday Tip is 10 Tips! This week, the accent is on percussion—which is an essential part of any decent mix. We’re going to get down and dirty in percussion-land, so load the Mai Tai synthesizer, and let’s get started.
From OSX Daily
Full Keyboard Symbol List: ⌘ is command ⌥ is option ⌃ is control ⇧ is shift ⇪ is caps lock ← is left arrow → is right arrow ↑ is up arrow ↓ is down arrow ⇥ is tab ⇤ is backtab is return ⌤ is enter ⌫ is delete ⌦ is forward delete ⇞ is page up ⇟ is page down is home is end ⌧ is clear ␣ is space ⎋ is escape is eject
Eject is a square with a triangle above a bar…
Recording audio on location rather than in a studio environment can be an immensely rewarding experience with plenty of benefits, whether that’s the cosy acoustic of a local hall, the epic reverb of a church or even the natural ambience of recording out in the open.
This is a very old article from Sound on Sound magazin from September 2005 – 14 years ago. It is a nice introduction to the value of automation, and the incredible power provided in Logic. Just about everything can be automated – even changing the screen set that you are currently viewing.
It is important to read further to be clear about what Logic Pro X can do (like Track Automation and Region Automation) for just one example.
Comprehensive automation is one of Logic ‘s most powerful facets, allowing micro-management of all the settings in your mix.
Wessel Oltheten, producer, engineer and author of the book Mixing with Impact offers a roadmap to getting better sounds out of your mics, every time. For even more on this subject, look for his new in-depth series on placing mics, starting next month on SonicScoop.
Getting the ideal mic placement means making important decisions before you even move the mic. Here are 7 steps to getting better results in any context.
1. Guess—but don’t just guess.
I start by placing every microphone at the spot where I think the odds are best for it to work well.
by Nick Messitte, iZotope Contributor August 20, 2019
Some of the reverbs we’ll be working with today
Your drums sound narrow, dry, and small. You need them to sound bigger, so you send them to a concert-hall reverb. That’ll do the trick, right? Probably not. Now all you have are small, narrow drums surrounded by a lot of incongruous reverb.
by David Bawiec, iZotope Contributor August 21, 2019
What’s a mix bus? Learn here!
We’ve got your guide to everything mix bus-related. Learn how they work, the difference between a group, aux bus, or master bus, when you should route your tracks to a group bus, and how to do it the right way.
When I was playing the club circuit in Boston and New England in 1972, I thought I had a pretty great keyboard rig: a Rhodes Stage electric piano, a Fender Twin Reverb amp, and a wah pedal. Then I stopped by Bunratty’s Bar and saw a band that had a brand new Minimoog. It was love at first sight, and I had to get my hands on one. I was mesmerized by how it lets a keyboard player bend notes and be expressive the way a guitarist or horn player can be. I’ve been a big Minimoog proponent ever since. Here are some tips for building your own expressive jazz-rock synth solos.
In a recent conversation among the team we were discussing what the thinking was behind the apparently common practice of using a spaced pair of cardioid mics, often facing inwards, as a pair of overheads on drums? If the idea of a pair of overheads is to capture a stereo picture of the whole kit, rather than be cymbal mics, then exactly what is this arrangement trying to achieve and where does it come from?
Good examples of how to capture a drum kit. Lots of examples and clear discussion.
The official mascots of Rational Acoustics. These seven little gremlins like nothing more than to give your sound system their own distinctive voice. Sure, they’re friendly enough when encountered as a balanced group, but hanging out with any one of them for too long can drive you to distraction – or worse. Don’t be fooled by their diminutive stature and (sometimes) cute appearance – these little offenders have a long rap sheet filled with everything from simple charges of disturbing the peace to more flagrant offenses like system hijacking and mix vandalism