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
Interview with Michael Lawrence from Rational Acoustics and Live Sound International about fighting feedback while mixing monitors from FOH.
I was a guest on the Sound Design Live podcast hosted by Nathan Lively. We talked about mixing monitors from FOH, workflow, and how I’ve mostly (but not completely) managed to avoid artists vomiting on my mics.
It’s almost impossible to walk into any commercial studio and not see at least one Pultec EQ in the rack. In production from the early 1950s to the early 80s, Pultec EQs have played an integral part in nearly 50 years of recording history — from tracking to mixing to mastering. Universal Audio has recreated three classic models from the Pultec line with the Pultec Passive EQ Plug-In Collection: the EQP-1A Program EQ, the MEQ-5 Midrange EQ, and the HLF-3C Filter Set. All offer a ton of practical and musical possibilities.
UAD offered up some settings to show off the Pultec EQs. I made some presets for Logic Pro X ‘Vintage EQ’ plugin. Similar results when I pass the audio through the Logic built-ins.
by David Bawiec, iZotope Contributor July 24, 2019
VCA and sub-groups are useful tools in your mixing practice, but serve different purposes.
VCAs and sub-group busses can be easily confused. Here’s your primer on the difference and when it makes sense to use one vs. the other.
The examples are from Logic Pro X. In a simple sense Logic implements Folder Stacks as a VCA and Summing Stacks as a Sub-Group. By using the stacks you get convenient “tracks” in the Arrange/Tracks window.
APPLE LOGIC PRO
Tutorial Archive. Reference pointer
The sidechaining process has become a popular and essential tool for many professional mix engineers, but how can we apply the technique in Logic Pro X? Here’s a sideways look…
By Mark Cousins – 23rd July 2019
ES2 side chaining sounds like fun. Noise Gate and Auto Filter are also interesting.
‘[Guidelines on How to EQ 14 Common Instruments – Produce Like A Pro](https://producelikeapro.com/blog/how-to-eq-14-common-instruments/)’
JULY 20, 2019
Understanding how to EQ–probably the most used tool available to engineers–is essential. Sometimes it’s as simple as high-passing an instrument, while other cases require more precision. Either way, EQ is fundamental in making mix elements sound more or less defined, larger or smaller, or “better” versus “different.” Having a general reference on how to EQ common instruments is a good way to start!
‘[Using Neutron 3 To Speed Up Your Mixes](https://www.izotope.com/en/blog/mixing/using-neutron-3-to-speed-up-your-mixes.html)’
by David Bawiec, iZotope Contributor July 17, 2019
Neutron 3 is the perfect tool to help speed up your mixing workflow.
We all need more time. More time to sleep, more time to play. So any tool that can assist you in getting work done faster means you get more of all of the above. In this article, I’ll show you how you can use Neutron’s Mix Assistant and presets to significantly speed up your workflow, all while achieving excellent sonic results in your mix.
Logic Pro X keyboard command of the day. #LogicProX @StudioIntern1
EXS24 command. Very large topic. Some day if I decide to do sampling or make sample-based instruments I will dive in. This should also include Alchemy.
EXS24 mkII is a software sampler. It plays back audio files, called samples, that you load into it. These samples are combined into tuned, organized collections called sampler instruments. Because sampler instruments are based on audio recordings, they are ideally suited to emulating real instruments such as guitars, pianos, and drums.
Alchemy is an easy-to-use, yet powerful sample manipulation synthesizer. It offers numerous real-time performance controls and an extensive preset library.
⇧ SHIFT – ⌃ CONTROL – ⌥ OPTION – ⌘ COMMAND
A cool thing about playing the ‘ukulele is that we have two hands doing completely different things on the instrument at the same time. The fretting hand controls the notes and harmony (chords). The picking hand controls when they are sounded.
A very deep dive happened while investigating Logic Pro X commands today. I always thought PIMAC stood for Pima County where I live…
Automation refers to recording, editing, and playing back the movements of faders, knobs, and switches. Using automation, you can create changes over time to volume, pan, and other settings. You can add automation to all track types.
Track Automation Commands currently available in Logic Pro X 10.4.5
Command Key Touch Bar
- Global Commands
Toggle Current Track Automation Off/Read ⌃⌘O ⌃3⃣
Set Current Track to Automation Read
Toggle Current Track Automation Touch/Read ⌃2⃣
Toggle Current Track Automation Latch/Read ⌃⌘A
Toggle Current Track Automation Write/Read
Toggle Current Track Automation Trim Mode
Toggle Current Track Automation Write Relative Mode
Set All Tracks to Automation Off ⌃⇧⌘O
Set All Tracks to Automation Read ⌃⇧⌘R
Set All Tracks to Automation Touch ⌃⇧⌘T
Set All Tracks to Automation Latch ⌃⇧⌘L
Set All Tracks to Automation Write
Track Automation Event List… ⌃⌘E
Set Move Track Automation with Regions to Never
Set Move Track Automation with Regions to Always
Set Move Track Automation with Regions to Ask
Toggle Move Track Automation with Regions Never/Always
- Views Showing Automation
Automation: Toggle Track/Region
- Main Window Tracks
Create 1 Track Automation Point at Region Borders ⌃⇧⌘1
Create 2 Track Automation Points at Region Borders ⌃⇧⌘2
Create 1 Track Automation Point at Every Region Border ⌃⌘1
Create 2 Track Automation Points at Every Region Border ⌃⌘2
Delete Visible Automation on Selected Tracks ⌃⌘⌫
Delete All Automation on Selected Tracks ⌃⇧⌘⌫
Delete Orphaned Automation on Selected Tracks ⌃⇧⌫
Delete All Track Automation
Move Visible Region Data to Track Automation ⌃⌘↑
Move Visible Track Automation to Region ⌃⌘↓
Move All Region Data to Track Automation ⌃⇧⌘↑
Move All Track Automation to Region ⌃⇧⌘↓
Create 1 Track Automation Point each for Volume, Pan, Sends
Create 2 Track Automation Points each for Volume, Pan, Sends
Create 1 Track Automation Point for Visible Parameter
Create 2 Track Automation Points for Visible Parameter
With more and more people using different DAWs, the need to be able to transfer a project from one DAW to another has grown. In this article we are going to show you how to move projects from one DAW, like Pro Tools, Studio and Logic Pro, to another DAW. In this article we will also cover the pitfalls in the export and import processes and how to overcome them.
Moving projects about. Very important to know how to do this.
JUNE 2, 2019
One of the hallmarks of a great mix is separation between every instrument. Most mix elements have wide frequency spectrums—even a kick drum can extend well into the high mids and above. When so much information exists in every instrument, it’s easy for things to sound cluttered and messy. Creating space in your mixes is a must for a clear, defined sound!