Recording & Mixing: Recent Episodes
Sound On Sound
Welcome to the Sound On Sound Recording and Mixing podcast channel where you’ll find shows packed with Hints & Tips about getting the most out of the recording, mixing and mastering process.
More information and content can be found at www.soundonsound.com/podcasts | Facebook, Twitter and Instagram - @soundonsoundmag | YouTube - https://www.youtube.com/user/soundonsoundvideo
In this fourth and final episode, David Mellor, a sound engineer and the founder and Course Director of Audio Masterclass, delves into Gain Staging your plug-ins and how to avoid clipping during the mixing and mastering stages.
Chapters
00:00 - Introduction
00:50 - Gain Staging Your Plug-ins
08:08 - 32-Bit Float
11:35 - Mixing And Mastering
16:27 - Gain Staging The Mix
19:32 - Headroom
21:50 - Mastering Using LUFS
David Mellor Biog
David Mellor got his start in pro audio through the Tonmeister course at Surrey University studying music, piano performance, acoustics, electronics, electro-acoustics and recording.
He went on to work at London's Royal Opera House, with responsibilities including sound design, front-of-house operation, stage monitoring and electronic design satisfying the likes of Luciano Pavarotti, Placido Domingo, Dame Kiri Te Kanawa and Karlheinz Stockhausen. He has also had over 600 works published in the field of production music, including the Chappell and Carlin music libraries (now combined into Universal Publishing Production Music). Notable uses of his music include the BBC's Horizon, Fahrenheit 911, and the Oprah Winfrey Show.
David has been actively involved in Audio Education since 1986, teaching students of City of Westminster College and Westminster University, and also returning to lecture at Surrey University. He also worked with John Cage on the International Dance Course at the University of Surrey. David now specialises in online audio education and has been Course Director of Audio Masterclass since 2001.
https://www.audiomasterclass.com/
David Mellor, a sound engineer and the founder and Course Director of Audio Masterclass, introduces us to Gain Staging in a brand new series of podcasts. In the third episode David continues looking at preamps, outlines the use of VU Meters and talks about the benefits of balancing a track prior to mixing.
Chapters
00:00 - Introduction
00:56 - More About Preamps
05:38 - Preamps With Valves
09:20 - The Mixing Process
16:17 - Using VU Meters
24:05 - Mixing During Recording
Listen to Gain Staging Episode 1
Listen to Gain Staging Episode 2
David Mellor Biog
David Mellor got his start in pro audio through the Tonmeister course at Surrey University studying music, piano performance, acoustics, electronics, electro-acoustics and recording.
He went on to work at London's Royal Opera House, with responsibilities including sound design, front-of-house operation, stage monitoring and electronic design satisfying the likes of Luciano Pavarotti, Placido Domingo, Dame Kiri Te Kanawa and Karlheinz Stockhausen. He has also had over 600 works published in the field of production music, including the Chappell and Carlin music libraries (now combined into Universal Publishing Production Music). Notable uses of his music include the BBC's Horizon, Fahrenheit 911, and the Oprah Winfrey Show.
David has been actively involved in Audio Education since 1986, teaching students of City of Westminster College and Westminster University, and also returning to lecture at Surrey University. He also worked with John Cage on the International Dance Course at the University of Surrey. David now specialises in online audio education and has been Course Director of Audio Masterclass since 2001.
https://www.audiomasterclass.com/
David Mellor, a sound engineer and the founder and Course Director of Audio Masterclass, introduces us to Gain Staging in a brand new series of podcasts. In the second episode David focuses on gain staging during recording, by balancing mic input, preamps and gain within your DAW to achieve the optimal sound level.
Chapters
00:00 - Introduction
00:40 - Dynamic Microphones
05:19 - Capacitor Microphones
11:25 - Gain Staging First Step
14:00 - The Pre-amp
16:39 - Headroom
20:49 - Audio Examples
David Mellor Biog
David Mellor got his start in pro audio through the Tonmeister course at Surrey University studying music, piano performance, acoustics, electronics, electro-acoustics and recording.
He went on to work at London's Royal Opera House, with responsibilities including sound design, front-of-house operation, stage monitoring and electronic design satisfying the likes of Luciano Pavarotti, Placido Domingo, Dame Kiri Te Kanawa and Karlheinz Stockhausen. He has also had over 600 works published in the field of production music, including the Chappell and Carlin music libraries (now combined into Universal Publishing Production Music). Notable uses of his music include the BBC's Horizon, Fahrenheit 911, and the Oprah Winfrey Show.
David has been actively involved in Audio Education since 1986, teaching students of City of Westminster College and Westminster University, and also returning to lecture at Surrey University. He also worked with John Cage on the International Dance Course at the University of Surrey. David now specialises in online audio education and has been Course Director of Audio Masterclass since 2001.
https://www.audiomasterclass.com/
Chapters
00:15 - Introduction
00:31 - Preparing For Vocal Recording
05:08 - Recording Vocals At Home
06:53 - Microphone Selection
14:41 - Microphone Placement
24:05 - Printed Compression
30:27 - Headphone Cue Mix
Mark Mynett Biog
As well as Senior Lecturer in Music Technology and Production at Huddersfield University, Mark Mynett is a live music front-of-house engineer, and record producer/engineer/mix and mastering engineer. Mainly focused on indie, rock and metal genres, he produces from his own studio - Mynetaur Productions – where he recently completed the latest My Dying Bride album ‘The Ghost of Orion’: referred to by Dom Lawson (The Guardian, Metal Hammer, Prog, Classic Rock) as “…a master class in modern metal production”.Metal Music Manual (instructional book for producing contemporary metal music)
Chapters
00:00 - Introduction
00:40 - How To Manage Distortion
06:10 - Pre-Recording Preparation
07:16 - Double Tracking And Quad Tracking
09:07 - Finding A Clear Midrange Tone
14:20 - Isolation And Ambience
15:46 - Microphone Selection
19:23 - Mic Placement
25:17 - Multitracking Tips
34:03 - Recording Guitar Solos
36:39 - Adding EQ At The Recording Stage
Mark Mynett Biog
As well as Senior Lecturer in Music Technology and Production at Huddersfield University, Mark Mynett is a live music front-of-house engineer, and record producer/engineer/mix and mastering engineer. Mainly focused on indie, rock and metal genres, he produces from his own studio - Mynetaur Productions – where he recently completed the latest My Dying Bride album ‘The Ghost of Orion’: referred to by Dom Lawson (The Guardian, Metal Hammer, Prog, Classic Rock) as “…a master class in modern metal production”.Metal Music Manual (instructional book for producing contemporary metal music)
Audio Clips: Baron Carta
Baron Carta at Spotify
Chapters
00:00 - Introduction
01:30 - 1. Intonation And Tuning
02:54 - 2. Active DI Boxes
06:00 - 3. Amp, Cab And Mic Setup
14:01 - 4. Layering Bass Sounds
17:51 - 5. Introducing Distortion
Mark Mynett Biog
As well as Senior Lecturer in Music Technology and Production at Huddersfield University, Mark Mynett is a live music front-of-house engineer, and record producer/engineer/mix and mastering engineer. Mainly focused on indie, rock and metal genres, he produces from his own studio - Mynetaur Productions – where he recently completed the latest My Dying Bride album ‘The Ghost of Orion’: referred to by Dom Lawson (The Guardian, Metal Hammer, Prog, Classic Rock) as “…a master class in modern metal production”.Metal Music Manual (instructional book for producing contemporary metal music)
Chapters
00:00 - Introduction
00:36 - Recording Multiple Instruments
01:12 - Pre-Recording Preparation
03:46 - 1. Miking The Kick
12:08 - 2. Miking The Snare
24:24 - 3. Miking The Toms
29:24 - 4. Miking The Cymbals
38:54 - 5. Overheads For Room Ambience
Mark Mynett Biog
As well as Senior Lecturer in Music Technology and Production at Huddersfield University, Mark Mynett is a live music front-of-house engineer, and record producer/engineer/mix and mastering engineer. Mainly focused on indie, rock and metal genres, he produces from his own studio - Mynetaur Productions – where he recently completed the latest My Dying Bride album ‘The Ghost of Orion’: referred to by Dom Lawson (The Guardian, Metal Hammer, Prog, Classic Rock) as “…a master class in modern metal production”.Metal Music Manual (instructional book for producing contemporary metal music)
Chapters
00:00 - Introduction
00:26 - Mixing In 5:1
04:16 - Setting Up Studio Monitoring
06:24 - Upgrading For Atmos
08:24 - How To Approach Atmos
11:14 - Placing Sounds
15:25 - Beds And Objects
19:11 - Working From An Analogue Console
23:11 - Using The Centre Speaker
27:23 - Incorporating Plug-in Effects
28:40 - Adding Compression In Surround
34:29 - Checking The Mix
37:21 - Frustrations With Atmos
41:34 - Recommended Listening
Bob Clearmountain BiogBob Clearmountain is an American recording engineer, mixer and record producer. He has worked with many prominent names in music including Bruce Springsteen (mixing Springsteen's Born in the U.S.A. and 25 other projects), The Rolling Stones (re-mixes of the singles "Miss You" and "Out of Tears" ) as well as their Tattoo You album amongst over 20 album, movie and concert video projects, Bryan Adams (producing and/or mixing nearly all of his albums since 1983), Robbie Williams, Huey Lewis & The News, Toto, Bon Jovi (These Days, Crush, Bounce), Simple Minds, The Pretenders, David Bowie, Roxy Music, Bryan Ferry, INXS and 235 other artists. Bob has released some signature plug-ins with audio hardware and software manufacturer Apogee Electronics.
https://www.mixthis.com/
Apogee Electronics Biog
Apogee originally made their name with special anti-aliasing filters that solved many of the early problems associated with digital audio. Later, Apogee’s complete conversion systems pushed the envelope of digital audio quality and established Apogee as a key innovator in the field of professional digital audio. Today, Apogee converters and audio interfaces are regarded as the reference standard in the audio industry.
Products such as Symphony I/O, Big Ben, Ensemble and Duet all set the benchmark by which digital audio recording hardware is judged. Now with their latest products JAM and MiC, designed especially for Apple’s iPad, iPhone and GarageBand software, Apogee continues to be at the forefront of recording technology. Apogee’s mission is to build products that offer ultimate sound quality and innovative design to all music creators from the aspiring artist to the discerning audio professional.
https://apogeedigital.com/
Sam Inglis BiogEditor In Chief Sam Inglis has been with Sound On Sound for more than 20 years. He is a recording engineer, producer, songwriter and folk musician who studies the traditional songs of England and Scotland, and the author of Neil Young's Harvest (Bloomsbury, 2003) and Teach Yourself Songwriting (Hodder, 2006).
https://www.soundonsound.com
Chapters
00:00 - Introduction
00:13 - Launch In The Film Industry
02:59 - Moving Into Music
04:53 - Controlling 3D Sound
07:26 - EastWest WordBuilder
11:05 - Density
14:07 - The End-User Format
17:04 - Solving Binaural
19:45 - Head Tracking
21:42 - Future Developments
Sound Particles BiogSound Particles creates 3D Audio Software that brings the power of computer graphics to the sound world, allowing sound professionals to create breathtaking sounds that simply would not be possible to create in any other way. Sound Particles provides the world’s first native 3D audio software combining CGI and audio techniques to create a new audio standard. The software creates the most realistic sound effects allowing perfect coherence between image and sound due to its true 3D CGI integration, while increasing the productivity of audio professionals.
Based in Leiria (Portugal) and founded by Nuno Fonseca, a former university professor, Sound Particles has been steadily growing since being founded in 2016 and is now composed of a team of over 30 people (with 1 in the UK and 1 in LA).
Sound Particles’ unique software is used in all major Hollywood studios and top videogame companies, in productions like "Dune", “Game of Thrones”, “Ready Player One”, "Frozen 2", "Star Wars" and many others.
https://soundparticles.com/
Paul White BiogPaul White joined the Sound On Sound team in 1991 where he became Editor In Chief, a position he held for many years before recently becoming Executive Editor. Paul has written more than 20 recording and music technology textbooks, the latest being The Producer’s Manual.
Having established his own multitrack home studio in the 1970s he’s worked with many notable names including Bert Jansch and Gordon Giltrap. He’s played in various bands over the years and currently collaborates with Malvern musician Mark Soden, under the name of Cydonia Collective. Paul still performs live claiming that as he has suffered for his music he doesn’t see why everyone else shouldn’t too!
http://www.cydoniacollective.co.uk/
Chapters
00:00 - Introduction
02:54 - 21 Plug-ins
05:44 - Workflow Tools
07:05 - Getting The Balance Right
11:24 - EQ And Saturation
21:22 - Parallel Processing The Drums
28:38 - Using Saturation On Vocals
35:07 - Adding And Automating Echo
47:06 - Getting Started With Soundtoys
Soundtoys BiogBased in Burlington Vermont, USA, Soundtoys (formerly Wave Mechanics) was founded in 1996 by Ken Bogdanowicz, the DSP effects designer behind the legendary H3000 Ultra-Harmonizer and the DSP4000 line of hardware signal processors from Eventide. Soundtoys develops world-class, creative signal-processing software for audio production, mixing, and sound design.
Soundtoys users include Mike Dean, David Sitek, James Blake, Ariel Borujow, Jamie Lidell, Greg Wells, Dave Pensado, Tony Maserati, Tim Kelley, and Blake Mills.
https://www.soundtoys.com/
Sam Inglis BiogEditor In Chief Sam Inglis has been with Sound On Sound for more than 20 years. He is a recording engineer, producer, songwriter and folk musician who studies the traditional songs of England and Scotland, and the author of Neil Young's Harvest (Bloomsbury, 2003) and Teach Yourself Songwriting (Hodder, 2006).
https://www.soundonsound.com
Chapters
00:00 - Introduction
00:53 - Tip 1: Reverb And Sidechained Compression
02:48 - Tip 2: Panned Effects
04:47 - Tip 3: Chopped Audio
06:53 - Tip 4: Adding Effects To Duplicate Tracks
09:55 - Tip 5: Adding Reverb Before Compression
All music composed and performed by Matt Johnson © Matt Johnson Music
Matt Johnson BiogFor the last 20 years Matt has been the keyboard player for Jamiroquai, co-writing most of the band's output during that time and co-producing the last album ‘Automaton’.
In between working with the band he has recorded as a session player with numerous artists in many genres including Duffy, Ashanti, J.P.Cooper, Jax Jones, S.G.Lewis, Purple Disco Machine, Newton Faulkner, Nolwenn Leroy, Will Young and many more.
Now Matt has released his debut solo record ‘With The Music’ under the Splash Blue label, with a retro Jazz Funk feel.
https://www.mattjohnsonproducer.com/
Chapters
00:00 - Introduction
00:56 - The First Filters
02:23 - Modern Filters
04:37 - Example 1: Filtering A Triangle Wave Into A Sine Wave
06:15 - Example 2: Using Self-Oscillating Filters To Generate Tuned And Tracked Tones
07:27 - Example 3: Adding Movement To A Sub Bass
11:44 - Example 4: Filtering A Drum Beat
14:45 - Example 5: Using Resonant Filters On Beats
17:34 - Example 6: Creating Texture With Formant Filters
Eddie Bazil BiogEddie Bazil launched his music industry career at the age of 17 as a synth programmer for a range of Electro / New Wave bands including Art of Noise, Spandau Ballet, Pet Shop Boys, Bobin, Paul Dee, DJ Krush, DJ Shadow, Jets Orchestra. By his 20s he was working as a sound designer for Akai, Roland Emu/Ensoniq, eventually signing on exclusively with the latter. Later, due to a growing demand for software instruments and libraries, Eddie started to develop libraries for various software manufacturers, including Native Instruments, Kiesel, Sound Effects Library, Arturia and Propellerheads. A meeting with Phil Allen, a Capital Radio DJ, resulted in the company Samplecraze, which Eddie has spent 20 years developing as an educational resource. At this time he trained in music production and soon gained a number of prominent contracts working with some notable artistes such as Busta Rhymes, Greensleeves, 9 Bar, SFP, Sleeveless, Chris Campbell and Gam Productions. He contracted to Island Records and Chrysalis as a producer and remixer, plus was commissioned to write the score for Macbeth that ran at 2 Way Mirror at Alexander Palace for the Cambridge Shakespeare Company. His ongoing development of Samplecraze has led to him offering educational workshops and classes, releasing four books via PC Publishing and becoming a contributor and forum moderator for Sound On Sound. Recently he has established The Audio Production Hub for online education and been invited by the Recording Academy to become a Grammy judge.https://eddiebazil.co.uk/
https://samplecraze.com/
https://theaudioproductionhub.pivotshare.com/
Chapters
00:00 - Introduction
00:48 - A Tape Op At Manor Studios
02:25 - A Typical Day At The Manor
03:45 - The Engineers And The Bands
06:01 - Tape Editing
07:56 - Switching To Digital
09:18 - From House Engineer To Freelance
09:42 - Hugh Padgham and Steve Lillywhite
12:24 - Early Sampling
13:03 - Using An SSL Desk
17:45 - Scritti Politti Cupid and Psyche
18:25 - Synchronising MIDI and Tape
22:24 - Getting The Scritti Sound
23:48 - Working With UB40
28:01 - The Age Of Chance
28:15 - From Tape To Digital To HD Recording
29:09 - Working With Slave Reels
30:48 - The Change To Digital Tape
31:58 - Preferred Recording Medium
33:02 - Engineering Apollo 440
34:31 - Recording A Jazz Quartet
35:59 - Using Logic and Plug-ins
Howard Gray Biog
Howard started out in the early 80s as a teenage razor-sharp tape operator at The Manor - Virgin Records’ quintessential getting it together in the country recording facility, before graduating to house engineer at one of the first Solid State Logic console equipped studios, west London’s legendary Townhouse. Sessions there included Kate Bush, Phil Collins, XTC, OMD, PIL, The Stranglers, Japan, Rip Rig & Panic, Van Morrison and ABC. He worked on countless classic 80’s records with producers like Mick Glossop, John Leckie, Hugh Padgham, Steve Lillywhite, Adrian Sherwood and Trevor Horn, engineering albums such as Simple Minds’ Sparkle in the Rain, and the paradigm shifting Cupid & Psyche for Scritti Politti.
His first production credits with UB40 (Red Red Wine) led to more, including The Cure, Terence Trent D’Arby, Danny Wilson, Manic Street Preachers, Age Of Chance, Screaming Blue Messiahs, Pete Wylie, Tom Jones and Art Brut - at the controls in seminal London studios Air, Trident, Roundhouse, Sarm, Metropolis, Eden, Strongroom, as well as New York, Paris, Tokyo, Munich, Oslo, Baltimore and more.
Witness to the dawn of digital and early adopter of the Sequential Circuits Studio 440, the possibilities of sampling led Howard in the early 90s to form dance/rock/dub combo Apollo 440, prolific producers and remixers of, amongst others, U2, Scritti and Shabba Ranks, Jean-Michel Jarre, James, Hotei, Puretone and Jeff Beck from their Camden Town ‘Apollo Control’ base. The group delivered three albums for Sony Records, numerous top 40 singles, including international hit Stop The Rock, film themes Lost in Space and Charlie’s Angels. He still regularly directs their live performance/Dub sound system at European festivals from FOH.
Mixer of The Anfield Rap, co-writer and producer of Pass and Move (it’s the Liverpool Groove), and now nearing 500 credits on Discogs. His recent projects include Jazz LPs and Baroque Opera.
James Gardner Biog
James Gardner is a composer, synthesizer programmer, researcher, and broadcaster based in Tāmaki Makaurau (Auckland). Born in Liverpool, James played and programmed synthesizers in London during the 1980s, and in 1990 co-founded the band/remix team Apollo 440. Following encouragement from Michael Finnissy, he left the group in 1993 to concentrate on notated composition. Moving to Aotearoa/New Zealand in 1994, he established the contemporary music ensemble 175 East, which he directed until 2010.
As well as composing, he has written and presented many programmes for RNZ Concert including features on Frank Zappa, Morton Feldman, John Barry’s James Bond soundtracks, and These Hopeful Machines – a six-part series on electronic music.
https://www.rnz.co.nz/concert/programmes/hopefulmachines
As a teacher, Gardner has lectured on music and music technology at the University of Auckland, Unitec Institute of Technology and the University of Canterbury, Christchurch, where he is an Adjunct Senior Fellow. His primary research topic is the synthesizer company EMS, and the electronic music studio of Peter Zinovieff.
Website: https://www.gardnercomposer.com/
Twitter: @JEGcomposer
Chapters
00:00 - Introduction
00:18 - Power Supplies
02:32 - USB Connectors
03:07 - Software
04:37 - Audio Specifications
06:15 - Digital Meters
08:02 - Detented Potentiometers
09:01 - OS Upgrades
10:28 - Non-Removable Batteries
11:39 - Impractical Hardware
Paul White BiogPaul White joined the Sound On Sound team in 1991 where he became Editor In Chief, a position he held for many years before recently becoming Executive Editor. Paul has written more than 20 recording and music technology textbooks, the latest being The Producer’s Manual.
Having established his own multitrack home studio in the 1980s he’s worked with many notable names including Bert Jansch and Gordon Giltrap. He’s played in various bands over the years and currently collaborates with Malvern musician Mark Soden, under the name of Cydonia Collective. Paul still performs live claiming that as he has suffered for his music he doesn’t see why everyone else shouldn’t too!
http://www.cydoniacollective.co.uk/
Hugh Robjohns Biog
Hugh Robjohns has been Sound On Sound´s Technical Editor since 1997. Prior to that he worked in a variety of (mostly) sound-related roles in BBC Television, ending up as a Sound Operations Lecturer at the BBC´s technical training centre. He continues to provide audio consultancy and bespoke broadcast audio training services all over the world, lectures at professional and public conventions, and occasionally records and masters acoustic and classical music too!
Chapters
00:00 - Introduction
00:18 - Zoom F6
01:27 - Logic 10.7
01:59 - IK Multimedia AmpliTube X-Space
03:03 - Trinnov D-mon
05:06 - IK Multimedia AmpliTube 5
05:26 - Cherry Audio Stardust 201 Tape Echo
05:41 - Waves Retro Fi
06:14 - Rob Papen DelSane
06:37 - SSL Native X-Echo
06:49 - Classical Recording: A Practical Guide in the Decca Tradition
08:21 - Boss IR-200
08:41 - Blackstar Dept.10 Dual Drive
09:47 - RME Audio HDSPe AIO Pro
11:19 - SSL BiG SiX
12:42 - Aum Guitars Vibraslide
13:52 - Gamechanger Audio LIGHT Pedal
15:06 - Grace Design m900
Paul White BiogPaul White initially trained in electronics at The Royal Radar Establishment in Malvern then went on to work with Malvern Instruments, a company specialising in laser analysis equipment, before moving into technical writing.
He joined the Sound On Sound team in 1991 where he became Editor In Chief, a position he held for many years before recently becoming Executive Editor. Paul has written more than 20 recording and music technology textbooks, the latest being The Producer’s Manual.
Having established his own multitrack home studio in the 1980s he’s worked with many notable names including Bert Jansch and Gordon Giltrap. He’s played in various bands over the years and currently collaborates with Malvern musician Mark Soden, under the name of Cydonia Collective. Paul still performs live claiming that as he has suffered for his music he doesn’t see why everyone else shouldn’t too!
http://www.cydoniacollective.co.uk/
Hugh Robjohns Biog
Hugh Robjohns has been Sound On Sound´s Technical Editor since 1997. Prior to that he worked in a variety of (mostly) sound-related roles in BBC Television, ending up as a Sound Operations Lecturer at the BBC´s technical training centre. He continues to provide audio consultancy and bespoke broadcast audio training services all over the world, lectures at professional and public conventions, and occasionally records and masters acoustic and classical music too!
Chapters
00:00 - Introduction
00:30 - A Short History Of The Vocoder
02:15 - How Vocoders Work
03:28 - Example 1: Processing Drum Beats and Pads
07:31 - Example 2: Adding Texture To Drums And Bass
10:41 - Example 3: Creating Rhythmic Bass Textures
13:30 - Example 4: Creating The Borg
16:00 - Example 5: Modulating Sounds Using A Beat
21:20 - Example 6: Adding Delay To Create Motion
25:46 - Ending
Eddie Bazil BiogEddie Bazil launched his music industry career at the age of 17 as a synth programmer for a range of Electro / New Wave bands including Art of Noise, Spandau Ballet, Pet Shop Boys, Bobin, Paul Dee, DJ Krush, DJ Shadow, Jets Orchestra. By his 20s he was working as a sound designer for Akai, Roland Emu/Ensoniq, eventually signing on exclusively with the latter. Later, due to a growing demand for software instruments and libraries, Eddie started to develop libraries for various software manufacturers, including Native Instruments, Kiesel, Sound Effects Library, Arturia and Propellerheads. A meeting with Phil Allen, a Capital Radio DJ, resulted in the company Samplecraze, which Eddie has spent 20 years developing as an educational resource. At this time he trained in music production and soon gained a number of prominent contracts working with some notable artistes such as Busta Rhymes, Greensleeves, 9 Bar, SFP, Sleeveless, Chris Campbell and Gam Productions. He contracted to Island Records and Chrysalis as a producer and remixer, plus was commissioned to write the score for Macbeth that ran at 2 Way Mirror at Alexander Palace for the Cambridge Shakespeare Company. His ongoing development of Samplecraze has led to him offering educational workshops and classes, releasing four books via PC Publishing and becoming a contributor and forum moderator for Sound On Sound. Recently he has established The Audio Production Hub for online education and been invited by the Recording Academy to become a Grammy judge.https://eddiebazil.co.uk/
https://samplecraze.com/
https://theaudioproductionhub.pivotshare.com/
Chapters
00:00 - Introduction
00:25 - Early Memories Of Recording
02:47 - Simul-sync
03:40 - First Multitrack Experience
07:03 - Noise Reduction
10:12 - Favourite and Worst Tape Moments
12:07 - Digital Recording
14:15 - Early Computer Recording
16:47 - Digital Storage
18:06 - The Early DAWs
19:16 - Modern DAWs
20:15 - Data Backups and Cloud Storage
Paul White BiogPaul White initially trained in electronics at The Royal Radar Establishment in Malvern then went on to work with Malvern Instruments, a company specialising in laser analysis equipment, before moving into technical writing.
He joined the Sound On Sound team in 1991 where he became Editor In Chief, a position he held for many years before recently becoming Executive Editor. Paul has written more than 20 recording and music technology textbooks, the latest being The Producer’s Manual.
Having established his own multitrack home studio in the 1980s he’s worked with many notable names including Bert Jansch and Gordon Giltrap. He’s played in various bands over the years and currently collaborates with Malvern musician Mark Soden, under the name of Cydonia Collective. Paul still performs live claiming that as he has suffered for his music he doesn’t see why everyone else shouldn’t too!
http://www.cydoniacollective.co.uk/
Hugh Robjohns Biog
Hugh Robjohns has been Sound On Sound´s Technical Editor since 1997. Prior to that he worked in a variety of (mostly) sound-related roles in BBC Television, ending up as a Sound Operations Lecturer at the BBC´s technical training centre. He continues to provide audio consultancy and bespoke broadcast audio training services all over the world, lectures at professional and public conventions, and occasionally records and masters acoustic and classical music too!
Chapters
00:00 - Introduction
00:15 - Early Echo Effects Using Tape Loops
05:05 - The Introduction Of Solid State Technology
06:43 - High-Quality Results With Digital Delays
10:04 - Vintage Emulations And Sound Design Using Plug-ins
Paul White BiogPaul White initially trained in electronics at The Royal Radar Establishment in Malvern then went on to work with Malvern Instruments, a company specialising in laser analysis equipment, before moving into technical writing.
He joined the Sound On Sound team in 1991 where he became Editor In Chief, a position he held for many years before recently becoming Executive Editor. Paul has written more than 20 recording and music technology textbooks, the latest being The Producer’s Manual.
Having established his own multitrack home studio in the 1980s he’s worked with many notable names including Bert Jansch and Gordon Giltrap. He’s played in various bands over the years and currently collaborates with Malvern musician Mark Soden, under the name of Cydonia Collective. Paul still performs live claiming that as he has suffered for his music he doesn’t see why everyone else shouldn’t too!
http://www.cydoniacollective.co.uk/
Chapters
00:00 - Introduction
00:19 - The Role Of A Producer
02:20 - Example 1: Adding Clarity And Bite To Drums
04:10 - Example 2: Thickening A Drum Beat
06:50 - Example 3: Creating Texture
09:58 - Example 4: Adding A Strong Attack To A Kick Drum
12:45 - Example 5: Adding Life To Acoustic Beats
16:22 - Example 6: Adding Ambience
21:09 - Example 7: Altering the Kick Within A Beat
23:58 - Ending
Eddie Bazil BiogEddie Bazil launched his music industry career at the age of 17 as a synth programmer for a range of Electro / New Wave bands including Art of Noise, Spandau Ballet, Pet Shop Boys, Bobin, Paul Dee, DJ Krush, DJ Shadow, Jets Orchestra. By his 20s he was working as a sound designer for Akai, Roland Emu/Ensoniq, eventually signing on exclusively with the latter. Later, due to a growing demand for software instruments and libraries, Eddie started to develop libraries for various software manufacturers, including Native Instruments, Kiesel, Sound Effects Library, Arturia and Propellerheads. A meeting with Phil Allen, a Capital Radio DJ, resulted in the company Samplecraze, which Eddie has spent 20 years developing as an educational resource. At this time he trained in music production and soon gained a number of prominent contracts working with some notable artistes such as Busta Rhymes, Greensleeves, 9 Bar, SFP, Sleeveless, Chris Campbell and Gam Productions. He contracted to Island Records and Chrysalis as a producer and remixer, plus was commissioned to write the score for Macbeth that ran at 2 Way Mirror at Alexander Palace for the Cambridge Shakespeare Company. His ongoing development of Samplecraze has led to him offering educational workshops and classes, releasing four books via PC Publishing and becoming a contributor and forum moderator for Sound On Sound. Recently he has established The Audio Production Hub for online education and been invited by the Recording Academy to become a Grammy judge.https://eddiebazil.co.uk/
https://samplecraze.com/
https://theaudioproductionhub.pivotshare.com/
Chapters
00:00 - Introduction
00:25 - What Are Transient Shapers?
01:50 - Example 1: Adding Clarity And Punch
03:19 - Example 2: Highlighting Attack Transients
05:20 - Example 3: Adding Grit And Thickness
06:58 - Example 4: Shaping Attack And Sustain
08:58 - Example 5: Sustaining Short Notes
11:46 - Example 6: Transient Shapers In Sound Design
19:35 - Ending
Eddie Bazil BiogEddie Bazil launched his music industry career at the age of 17 as a synth programmer for a range of Electro / New Wave bands including Art of Noise, Spandau Ballet, Pet Shop Boys, Bobin, Paul Dee, DJ Krush, DJ Shadow, Jets Orchestra. By his 20s he was working as a sound designer for Akai, Roland Emu/Ensoniq, eventually signing on exclusively with the latter. Later, due to a growing demand for software instruments and libraries, Eddie started to develop libraries for various software manufacturers, including Native Instruments, Kiesel, Sound Effects Library, Arturia and Propellerheads. A meeting with Phil Allen, a Capital Radio DJ, resulted in the company Samplecraze, which Eddie has spent 20 years developing as an educational resource. At this time he trained in music production and soon gained a number of prominent contracts working with some notable artistes such as Busta Rhymes, Greensleeves, 9 Bar, SFP, Sleeveless, Chris Campbell and Gam Productions. He contracted to Island Records and Chrysalis as a producer and remixer, plus was commissioned to write the score for Macbeth that ran at 2 Way Mirror at Alexander Palace for the Cambridge Shakespeare Company. His ongoing development of Samplecraze has led to him offering educational workshops and classes, releasing four books via PC Publishing and becoming a contributor and forum moderator for Sound On Sound. Recently he has established The Audio Production Hub for online education and been invited by the Recording Academy to become a Grammy judge.https://eddiebazil.co.uk/
https://samplecraze.com/
https://theaudioproductionhub.pivotshare.com/
Chapters
00:00 - Introduction
00:21 - Basic Rules Of FX Chains
01:11 - FX Chain For Guitarists
03:03 - Phase And Distortion
04:19 - Compression And EQ
05:22 - Compression And Overdrive
06:59 - Reverbs And Delays
08:31 - Reverb And Distortion
09:30 - Parallel Configuration In Your DAW
10:37 - Where To Add Vocal Compression
11:23 - Summary
Paul White BiogPaul White initially trained in electronics at The Royal Radar Establishment in Malvern then went on to work with Malvern Instruments, a company specialising in laser analysis equipment, before moving into technical writing.
He joined the Sound On Sound team in 1991 where he became Editor In Chief, a position he held for many years before recently becoming Executive Editor. Paul has written more than 20 recording and music technology textbooks, the latest being The Producer’s Manual.
Having established his own multitrack home studio in the 1980s he’s worked with many notable names including Bert Jansch and Gordon Giltrap. He’s played in various bands over the years and currently collaborates with Malvern musician Mark Soden, under the name of Cydonia Collective. Paul still performs live claiming that as he has suffered for his music he doesn’t see why everyone else shouldn’t too!
http://www.cydoniacollective.co.uk/
Chapters
00:00 - Introduction
00:46 - Tip 1: Natural Sounding Auto-Tune
03:07 - Tip 2: Robotic Style Auto-Tune
04:27 - Tip 3: Adding Auto-Tune To Sends
05:12 - Tip 4: Controlling Auto-Tune With MIDI
06:17 - Tip 5: Creating Musical Soundscapes
08:55 - Tip 6: Using Auto-Tune For Double Tracking
09:47 - Tip 7: Using Auto-Tune On Pitch Bends
10:47 - Demo Showcasing Various Auto-Tune Techniques
Paul White BiogPaul White initially trained in electronics at The Royal Radar Establishment in Malvern then went on to work with Malvern Instruments, a company specialising in laser analysis equipment, before moving into technical writing.
He joined the Sound On Sound team in 1991 where he became Editor In Chief, a position he held for many years before recently becoming Executive Editor. Paul has written more than 20 recording and music technology textbooks, the latest being The Producer’s Manual.
Having established his own multitrack home studio in the 1980s he’s worked with many notable names including Bert Jansch and Gordon Giltrap. He’s played in various bands over the years and currently collaborates with Malvern musician Mark Soden, under the name of Cydonia Collective. Paul still performs live claiming that as he has suffered for his music he doesn’t see why everyone else shouldn’t too!
Credit: Vocals by Alice Rose Wild.
http://www.cydoniacollective.co.uk/
Chapters
00:00 - Introduction
00:26 - What Is Dynamic EQ?
01:45 - Example 1: Sidechaining
03:29 - Example 2: Processing Drums
05:33 - Example 3: Corrective EQ
08:03 - Example 4: Creating Motion
11:09 - Example 5: EQing Multiple Vocals
14:24 - Example 6: Separating Elements Within A Mix
19:13 - Ending
Audio Credits
Examples 3 and 4:
Many thanks to David Plummer and Becky Bremner for use of their content in this podcast.
https://www.smokinggoats.co.uk
Example 5:
Many thanks to Chris Timson and Anne Gregson for use of their content in the podcast.
www.eaglealley.co.uk
Example 6:
Many thanks to artist Anna Kaona.
Track: Every time, recorded by Simone Fedi at Studio Volta Recordings.
Eddie Bazil BiogEddie Bazil launched his music industry career at the age of 17 as a synth programmer for a range of Electro / New Wave bands including Art of Noise, Spandau Ballet, Pet Shop Boys, Bobin, Paul Dee, DJ Krush, DJ Shadow, Jets Orchestra. By his 20s he was working as a sound designer for Akai, Roland Emu/Ensoniq, eventually signing on exclusively with the latter. Later, due to a growing demand for software instruments and libraries, Eddie started to develop libraries for various software manufacturers, including Native Instruments, Kiesel, Sound Effects Library, Arturia and Propellerheads. A meeting with Phil Allen, a Capital Radio DJ, resulted in the company Samplecraze, which Eddie has spent 20 years developing as an educational resource. At this time he trained in music production and soon gained a number of prominent contracts working with some notable artistes such as Busta Rhymes, Greensleeves, 9 Bar, SFP, Sleeveless, Chris Campbell and Gam Productions. He contracted to Island Records and Chrysalis as a producer and remixer, plus was commissioned to write the score for Macbeth that ran at 2 Way Mirror at Alexander Palace for the Cambridge Shakespeare Company. His ongoing development of Samplecraze has led to him offering educational workshops and classes, releasing four books via PC Publishing and becoming a contributor and forum moderator for Sound On Sound. Recently he has established The Audio Production Hub for online education and been invited by the Recording Academy to become a Grammy judge.https://eddiebazil.co.uk/
https://samplecraze.com/
https://theaudioproductionhub.pivotshare.com/
Chapters
00:00 - Introduction
00:23 - About Delay Effects
01:57 - Example 1: Using Delay As A Reverb
03:38 - Example 2: Applying Depth To Drums
04:39 - Example 3: Using Delay To Create Motion
06:42 - Example 4: Creating Rhythmic Effects
07:58 - Example 5: Creating A Shadow Effect
09:21 - Example 6: Creating Texture
21:08 - The Completed Sequence
Eddie Bazil BiogEddie Bazil launched his music industry career at the age of 17 as a synth programmer for a range of Electro / New Wave bands including Art of Noise, Spandau Ballet, Pet Shop Boys, Bobin, Paul Dee, DJ Krush, DJ Shadow, Jets Orchestra. By his 20s he was working as a sound designer for Akai, Roland Emu/Ensoniq, eventually signing on exclusively with the latter. Later, due to a growing demand for software instruments and libraries, Eddie started to develop libraries for various software manufacturers, including Native Instruments, Kiesel, Sound Effects Library, Arturia and Propellerheads. A meeting with Phil Allen, a Capital Radio DJ, resulted in the company Samplecraze, which Eddie has spent 20 years developing as an educational resource. At this time he trained in music production and soon gained a number of prominent contracts working with some notable artistes such as Busta Rhymes, Greensleeves, 9 Bar, SFP, Sleeveless, Chris Campbell and Gam Productions. He contracted to Island Records and Chrysalis as a producer and remixer, plus was commissioned to write the score for Macbeth that ran at 2 Way Mirror at Alexander Palace for the Cambridge Shakespeare Company. His ongoing development of Samplecraze has led to him offering educational workshops and classes, releasing four books via PC Publishing and becoming a contributor and forum moderator for Sound On Sound. Recently he has established The Audio Production Hub for online education and been invited by the Recording Academy to become a Grammy judge.https://eddiebazil.co.uk/
https://samplecraze.com/
https://theaudioproductionhub.pivotshare.com/
Chapters
00:00 - Introduction
00:25 - How Phasers Work
02:34 - Demonstrating The Stages
03:53 - Using A Phaser On Vocals
04:43 - Stereo Panning
05:39 - Phasing a Rhodes
06:35 - Advanced Phaser Effects
09:52 - Adding Delay
12:09 - Adding Reverb
13:45 - Using Automation
16:13 - Ending
Audio Credit
Many thanks to David Plummer and Becky Bremner for use of their content in this podcast.https://www.smokinggoats.co.uk/
Please Note Update There is an error at the following time cues where Eddie mistakenly said Kilohertz instead of Hertz when referring to the LFO frequencies.
At 04:04 he says 20 Hz and then 1kHz. They should be 0.20Hz and 0.1Hz.
At 05:47 he says 4.2kHz and this should be 4.2Hz
Sorry for the errors.
Eddie Bazil BiogEddie Bazil launched his music industry career at the age of 17 as a synth programmer for a range of Electro / New Wave bands including Art of Noise, Spandau Ballet, Pet Shop Boys, Bobin, Paul Dee, DJ Krush, DJ Shadow, Jets Orchestra. By his 20s he was working as a sound designer for Akai, Roland Emu/Ensoniq, eventually signing on exclusively with the latter. Later, due to a growing demand for software instruments and libraries, Eddie started to develop libraries for various software manufacturers, including Native Instruments, Kiesel, Sound Effects Library, Arturia and Propellerheads. A meeting with Phil Allen, a Capital Radio DJ, resulted in the company Samplecraze, which Eddie has spent 20 years developing as an educational resource. At this time he trained in music production and soon gained a number of prominent contracts working with some notable artistes such as Busta Rhymes, Greensleeves, 9 Bar, SFP, Sleeveless, Chris Campbell and Gam Productions. He contracted to Island Records and Chrysalis as a producer and remixer, plus was commissioned to write the score for Macbeth that ran at 2 Way Mirror at Alexander Palace for the Cambridge Shakespeare Company. His ongoing development of Samplecraze has led to him offering educational workshops and classes, releasing four books via PC Publishing and becoming a contributor and forum moderator for Sound On Sound. Recently he has established The Audio Production Hub for online education and been invited by the Recording Academy to become a Grammy judge.https://eddiebazil.co.uk/
https://samplecraze.com/
https://theaudioproductionhub.pivotshare.com/
Chapters
00:00 - Introduction
01:00 - Tip 1: Using Ambience Simulations
01:46 - Tip 2: Using A Plate Reverb
04:06 - Tip 3: Combining Reverb and Delay
05:10 - Tip 4: Adding Texture
06:43 - Tip 5: Shimmer Reverb
08:31 - Tip 6: Pitch Quantized Reverb
09:53 - Tip 7: Using Reverb To Create Rhythm
10:48 - Combining All Of The Tips
12:37 - Ending
Paul White BiogPaul White initially trained in electronics at The Royal Radar Establishment in Malvern then went on to work with Malvern Instruments, a company specialising in laser analysis equipment, before moving into technical writing.
He joined the Sound On Sound team in 1991 where he became Editor In Chief, a position he held for many years before recently becoming Executive Editor. Paul has written more than 20 recording and music technology textbooks, the latest being The Producer’s Manual.
Having established his own multitrack home studio in the 1980s he’s worked with many notable names including Bert Jansch and Gordon Giltrap. He’s played in various bands over the years and currently collaborates with Malvern musician Mark Soden, under the name of Cydonia Collective. Paul still performs live claiming that as he has suffered for his music he doesn’t see why everyone else shouldn’t too!
Credit: Vocals by Alice Rose Wild.
Chapters
00:00 - Introduction
01:13 - Tip 1: Gating drums like a pro
05:51 - Tip 2: Adding weight to snare drum
08:58 - Tip 3: Ducking overheads to remove snare drum
11:51 - Tip 4: Adding brightness to snare drum using reverb
14:09 - Tip 5: Controlling a large drum kit reverb using a gate
17:33 - Tip 6: Adding presence to snare drum using distortion and a top end boost
19:31 - Ending
Mat Gendreau BiogMathieu "Mat" Gendreau, is a Canadian-born and Philadelphia-based music producer, composer, recording artist, label owner and educator. He is the founder and program director of the Rowan University Bachelor of Science in Music Industry in Glassboro NJ, USA, and he records under the names JAXX DE LUXE, Expo 67 and Plastic Operator (with bandmate Pieter Van Dessel).
While graduating with an MA in Audio Production from University of Westminster in London, Gendreau cut his teeth as an in-house engineer at Mute Records in the early 00’s, He was also the main studio engineer for producer Arthur Baker. Over the years his music productions have been released by labels such as EMI, Mute, Virgin, Sony, Tommy Boy, Ministry of Sound and Universal, and he’s worked with many artists including Lenny Kravitz, Goldfrapp, New Order, Arthur Baker, Tommie Sunshine, CLIENT, Erasure, King Britt and Josh Wink.
His band Plastic Operator caught the attention of BBC Radio 1 DJ Rob Da Bank with the song "Folder" in 2005 and the single was signed to Sunday Best Recordings. In 2007, Mathieu launched his own label, Fine Day Records, and released Plastic Operator's album "Different Places" to critical acclaim. The band performed live in many of Europe's largest clubs, events and festivals including Bestival (Isle of Wight), Razzmatazz Club (Barcelona), Petrol, Culture Club (Belgium) and Paris Fashion Week. Mathieu has produced numerous remixes, including "Chains of Love - Plastic Operator remix" for chart-topping band Erasure (Mute/EMI). His club smash hit Booka Shade vs. Plastic Operator “I Won’t Back Down” was released on Ministry of Sound/Hed Kandi.
In 2018, under his house music moniker JAXX DE LUXE, Mathieu signed to legendary house music label Nervous Records with the single “I’m Taking You High – Feat. Aphra”. Later that year his JAXX DE LUXE remix of Lenny Kravitz's "Low" was part of a remix package that pushed the single to Number 1 on the Billboard Dance Music Chart.
Another of his recent efforts as a recording artist is a downtempo instrumental electronica project under the name Expo 67. The Expo 67 EP "Never Without You" was released on Fine Day Records / SONY The Orchard in 2019.
His work as a composer has been featured in films and videos, television programs, advertisements, and video games for Ubisoft, Autodesk, MIT, WYBE, Coca-Cola, Radio-Canada Television and the British Academy of Film and Television Arts (BAFTA) Games Awards.
Rowan University Music Industry Program : https://academics.rowan.edu/cpa/music/divisions/MusicIndustry.html
JAXX DE LUXE: https://ampl.ink/em4YP
Expo 67: https://ampl.ink/Qo4NK
Plastic Operator: https://linktr.ee/PlasticOperator
Discography: http://www.finedaymusic.com/p/discography.html
Chapters
00:00 - Introduction
00:23 - What Is Parallel Processing?
01:50 - Tip 1: Adding A Professional Polish To Vocals
04:57 - Tip 2: A Hi-Frequency EQ Boost and Compression
06:12 - Tip 3: Compression, Distortion and a Hi-Pass Filter
09:47 - Tip 4: Chorus and a Hi-Pass Filter on Bass
12:43 - Tip 5: EQing New York Compression
15:28 - Ending
Mat Gendreau BiogMathieu "Mat" Gendreau, is a Canadian-born and Philadelphia-based music producer, composer, recording artist, label owner and educator. He is the founder and program director of the Rowan University Bachelor of Science in Music Industry in Glassboro NJ, USA, and he records under the names JAXX DE LUXE, Expo 67 and Plastic Operator (with bandmate Pieter Van Dessel).
While graduating with an MA in Audio Production from University of Westminster in London, Gendreau cut his teeth as an in-house engineer at Mute Records in the early 00’s, He was also the main studio engineer for producer Arthur Baker. Over the years his music productions have been released by labels such as EMI, Mute, Virgin, Sony, Tommy Boy, Ministry of Sound and Universal, and he’s worked with many artists including Lenny Kravitz, Goldfrapp, New Order, Arthur Baker, Tommie Sunshine, CLIENT, Erasure, King Britt and Josh Wink.
His band Plastic Operator caught the attention of BBC Radio 1 DJ Rob Da Bank with the song "Folder" in 2005 and the single was signed to Sunday Best Recordings. In 2007, Mathieu launched his own label, Fine Day Records, and released Plastic Operator's album "Different Places" to critical acclaim. The band performed live in many of Europe's largest clubs, events and festivals including Bestival (Isle of Wight), Razzmatazz Club (Barcelona), Petrol, Culture Club (Belgium) and Paris Fashion Week. Mathieu has produced numerous remixes, including "Chains of Love - Plastic Operator remix" for chart-topping band Erasure (Mute/EMI). His club smash hit Booka Shade vs. Plastic Operator “I Won’t Back Down” was released on Ministry of Sound/Hed Kandi.
In 2018, under his house music moniker JAXX DE LUXE, Mathieu signed to legendary house music label Nervous Records with the single “I’m Taking You High – Feat. Aphra”. Later that year his JAXX DE LUXE remix of Lenny Kravitz's "Low" was part of a remix package that pushed the single to Number 1 on the Billboard Dance Music Chart.
Another of his recent efforts as a recording artist is a downtempo instrumental electronica project under the name Expo 67. The Expo 67 EP "Never Without You" was released on Fine Day Records / SONY The Orchard in 2019.
His work as a composer has been featured in films and videos, television programs, advertisements, and video games for Ubisoft, Autodesk, MIT, WYBE, Coca-Cola, Radio-Canada Television and the British Academy of Film and Television Arts (BAFTA) Games Awards.
Rowan University Music Industry Program : https://academics.rowan.edu/cpa/music/divisions/MusicIndustry.html
JAXX DE LUXE: https://ampl.ink/em4YP
Expo 67: https://ampl.ink/Qo4NK
Plastic Operator: https://linktr.ee/PlasticOperator
Discography: http://www.finedaymusic.com/p/discography.html
Chapters
00:00 - Introduction
00:21 - Treating Reverb As A Track
00:53 - Tip 1: EQ Your Reverb
04:38 - Tip 2: Adding a De-Esser
08:05 - Tip 3: Changing Reverb Tonality
09:50 - Tip 4: Adding A Gate
13:22 - Tip 5: Delaying A Reverb
15:47 - Ending
Mat Gendreau BiogMathieu "Mat" Gendreau, is a Canadian-born and Philadelphia-based music producer, composer, recording artist, label owner and educator. He is the founder and program director of the Rowan University Bachelor of Science in Music Industry in Glassboro NJ, USA, and he records under the names JAXX DE LUXE, Expo 67 and Plastic Operator (with bandmate Pieter Van Dessel).
While graduating with an MA in Audio Production from University of Westminster in London, Gendreau cut his teeth as an in-house engineer at Mute Records in the early 00’s, He was also the main studio engineer for producer Arthur Baker. Over the years his music productions have been released by labels such as EMI, Mute, Virgin, Sony, Tommy Boy, Ministry of Sound and Universal, and he’s worked with many artists including Lenny Kravitz, Goldfrapp, New Order, Arthur Baker, Tommie Sunshine, CLIENT, Erasure, King Britt and Josh Wink.
His band Plastic Operator caught the attention of BBC Radio 1 DJ Rob Da Bank with the song "Folder" in 2005 and the single was signed to Sunday Best Recordings. In 2007, Mathieu launched his own label, Fine Day Records, and released Plastic Operator's album "Different Places" to critical acclaim. The band performed live in many of Europe's largest clubs, events and festivals including Bestival (Isle of Wight), Razzmatazz Club (Barcelona), Petrol, Culture Club (Belgium) and Paris Fashion Week. Mathieu has produced numerous remixes, including "Chains of Love - Plastic Operator remix" for chart-topping band Erasure (Mute/EMI). His club smash hit Booka Shade vs. Plastic Operator “I Won’t Back Down” was released on Ministry of Sound/Hed Kandi.
In 2018, under his house music moniker JAXX DE LUXE, Mathieu signed to legendary house music label Nervous Records with the single “I’m Taking You High – Feat. Aphra”. Later that year his JAXX DE LUXE remix of Lenny Kravitz's "Low" was part of a remix package that pushed the single to Number 1 on the Billboard Dance Music Chart.
Another of his recent efforts as a recording artist is a downtempo instrumental electronica project under the name Expo 67. The Expo 67 EP "Never Without You" was released on Fine Day Records / SONY The Orchard in 2019.
His work as a composer has been featured in films and videos, television programs, advertisements, and video games for Ubisoft, Autodesk, MIT, WYBE, Coca-Cola, Radio-Canada Television and the British Academy of Film and Television Arts (BAFTA) Games Awards.
Rowan University Music Industry Program : https://academics.rowan.edu/cpa/music/divisions/MusicIndustry.html
JAXX DE LUXE: https://ampl.ink/em4YP
Expo 67: https://ampl.ink/Qo4NK
Plastic Operator: https://linktr.ee/PlasticOperator
Discography: http://www.finedaymusic.com/p/discography.html
Chapters
00:00 - Introduction
01:22 - Tonal Enhancement
05:58 - Blend Enhancement
08:29 - Salvaging Mix Problems Using Spill
10:37 - Top Tips For Mixing With Spill
Credits
This month's episode features audio examples from the following productions:
- Marcus Boeltz, Christian Bolz & Tobias Knecht (band-tracking session)
You can read about this one-room recording session in the following Sound On Sound 'Session Notes' columns:
https://www.soundonsound.com/techniques/session-notes-multi-purpose-recordings
https://www.soundonsound.com/techniques/session-notes-editing-full-band-recordings
- Spektakulatius: 'Forever Young' & 'Is You Is Or Is You Ain't'
Download the full raw multitracks for 'Is You Is Or Is You Ain't' from https://cambridge-mt.com/ms/mtk/#Spektakulatius
Read about the recording, mixing, and mastering of all these songs in the following Sound On Sound 'Session Notes' & 'Mix Rescue' columns:
https://www.soundonsound.com/techniques/session-notes-spektakulatius
https://www.soundonsound.com/techniques/mix-rescue-spektakulatius
https://www.soundonsound.com/techniques/mix-rescue-spektakulatius-0
- Jesper Buhl Trio: 'What Is This Thing Called Love'
Download the full raw multitracks from https://cambridge-mt.com/ms/mtk/#JesperBuhlTrio
Read about my mix of this project in the following Sound On Sound 'Mix Rescue' column:
https://www.soundonsound.com/techniques/mix-rescue-jazz-trio
- Trafficker: 'My Father Never Loved Me'
Download the full raw multitracks from https://cambridge-mt.com/ms/mtk/#Trafficker
Read about my mix of this project in the following Sound On Sound 'Mix Rescue' column:
https://www.soundonsound.com/techniques/mix-rescue-trafficker
- Brushes Held Like Hammers (band-tracking session)
You can read about this one-room recording session in the following Sound On Sound 'Session Notes' column:
https://www.soundonsound.com/techniques/session-notes-reducing-spill
- How To Kill A Conversation: 'Mute'
Download the full raw multitracks from https://cambridge-mt.com/ms/mtk/#HowToKillAConversation
Mike Senior Biog
Mike Senior is a professional audio engineer, regular SOS contributor, and author of the best-selling books Mixing Secrets For The Small Studio & Recording Secrets For The Small Studio. He runs the Cambridge-MT educational resources site (including the web's largest free multitrack download library) and hosts two monthly independent podcasts, Project Studio Tea Break and the Cambridge-MT Patrons Podcast.
Chapters
00:00 - Introduction
00:49 - Distortion for tonal change
01:27 - Bringing sounds up front
03:30 - Combatting upper-spectrum masking
06:07 - Distorting rock lead vocals
09:56 - Distorting bass
13:16 - Practical implementation tips
Credits
This month's episode features audio examples from the following productions:
- Alex Giddens: 'Get Blown'
Read about my mix of this project in Sound On Sound's October 2009 'Mix Rescue' column at https://www.soundonsound.com/techniques/mix-rescue-alex-giddens
- Flags: '54'
Download the full raw multitracks from https://cambridge-mt.com/ms/mtk/#Flags
Read about my mix of this project in Sound On Sound's March 2011 'Mix Rescue' column at https://www.soundonsound.com/techniques/mix-rescue-flags
- Zeno: 'Signs'
Download the full raw multitracks from https://cambridge-mt.com/ms/mtk/#Zeno
Read about my mix of this project in Sound On Sound's March 2010 'Mix Rescue' column at https://www.soundonsound.com/techniques/mix-rescue-zeno
- Actions: 'Devil's Words'
Download the full raw multitracks from https://cambridge-mt.com/ms/mtk/#Actions
For lots more mixing tips and audio examples relating to this project, listen to the February 2018 Cambridge-MT Patrons Podcast for free at https://www.patreon.com/posts/17201141
Mike Senior Biog
Mike Senior is a professional audio engineer, regular SOS contributor, and author of the best-selling books Mixing Secrets For The Small Studio & Recording Secrets For The Small Studio. He runs the Cambridge-MT educational resources site (including the web's largest free multitrack download library) and hosts two monthly independent podcasts, Project Studio Tea Break and the Cambridge-MT Patrons Podcast.
Chapters
00:00 - Introduction
01:13 - Unwanted subsonics
04:16 - Undesirable resonances
08:20 - Pick noise
10:34 - Fret noise
12:35 - Overbearing percussive components
14:32 - Conclusion
Credits
This month's episode features audio examples from the following productions:
- Ben Carrigan: 'We'll Talk About It All Tonight'
http://www.bencarrigan.com/
Download the full raw multitracks from https://cambridge-mt.com/ms/mtk/#BenCarrigan
- The Wrong'uns: 'Rothko'
https://myspace.com/wronguns
Download the full raw multitracks from https://cambridge-mt.com/ms/mtk/#WrongUns
Read about my mix of this project in Sound On Sound's March 2013 'Mix Rescue' column at https://www.soundonsound.com/techniques/mix-rescue-wronguns
- Tom McKenzie: 'Directions'
https://tommckenzie.bandcamp.com/
Download the full raw multitracks from https://cambridge-mt.com/ms/mtk/#TomMcKenzie
Read about my mix of this project in Sound On Sound's April 2013 'Mix Rescue' column at https://www.soundonsound.com/techniques/mix-rescue-tom-mckenzie
- Fergessen: 'Nos Palpitants'
http://www.fergessen.fr/
Download the full raw multitracks from https://cambridge-mt.com/ms/mtk/#Fergessen
- Qupe: 'Ayni Nehirde'
Download the full raw multitracks from https://cambridge-mt.com/ms/mtk/#Qupe
- The Long Wait: 'Dark Horses'
http://thelongwait.com/
Download the full raw multitracks from https://cambridge-mt.com/ms/mtk/#LongWait
- Bolz & Knecht: 'Summertime' & 'Matteo'
http://www.bolzundknecht.de/
Download the full raw multitracks for 'Summertime' from https://cambridge-mt.com/ms/mtk/#BolzKnecht
Read about the recording sessions for 'Summertime' in Sound On Sound's August 2018 'Session Notes' column at https://www.soundonsound.com/techniques/session-notes-recording-acoustic-guitar-duo
Mike Senior Biog
Mike Senior is a professional audio engineer, regular SOS contributor, and author of the best-selling books Mixing Secrets For The Small Studio & Recording Secrets For The Small Studio. He runs the Cambridge-MT educational resources site (including the web's largest free multitrack download library) and hosts two monthly independent podcasts, Project Studio Tea Break and the Cambridge-MT Patrons Podcast.
Chapters
00:00 - Introduction
00:41 - Perception of short delays
02:46 - From fused delay to Haas delay
04:19 - Haas delays for stereo width
05:25 - Haas delays for blend and distance
09:26 - Haas delays for connecting panned doubletracks
10:56 - Pitfalls with Haas delays
14:50 - Summary
Credits
This month's episode features recordings from Johnny Lokke's 'Promises & Lies', Tom McKenzie's 'Directions', and Trafficker's 'My Father Never Loved Me'. If you'd like to try mixing these projects for yourself, you can download the full raw multitracks for them here:
https://cambridge-mt.com/ms/mtk/#JohnnyLokke
https://cambridge-mt.com/ms/mtk/#TomMcKenzie
https://cambridge-mt.com/ms/mtk/#Trafficker
These projects were also featured in Sound On Sound's 'Mix Rescue' column, in the January 2011, April 2013, and July 2018 issues respectively, which can be found in the magazine's article archives here:
https://www.soundonsound.com/techniques/mix-rescue-mixing-metal
https://www.soundonsound.com/techniques/mix-rescue-tom-mckenzie
https://www.soundonsound.com/techniques/mix-rescue-trafficker
Mike Senior Biog
Mike Senior is a professional audio engineer, regular SOS contributor, and author of the best-selling books Mixing Secrets For The Small Studio & Recording Secrets For The Small Studio. He runs the Cambridge-MT educational resources site (including the web's largest free multitrack download library) and hosts two monthly independent podcasts, Project Studio Tea Break and the Cambridge-MT Patrons Podcast.
Chapters
00:00 - Introduction
01:39 - Proximity-effect bass boost
04:44 - Spotlighting
05:48 - Low-end response at a distance
06:40 - Off-axis tonal coloration
09:06 - Insufficient spill rejection
10:56 - Plosives and handling noise
12:33 - The hand-held LDC trick
14:11 - Summary
If you'd like to listen more critically to the audio examples, you can download a high-resolution 24-bit/44.1kHz WAV of this whole episode from the podcast support page for this show https://www.soundonsound.com/techniques/why-not-use-cardioid-mics-mike-senior-podcast
Credits
This month's episode features recordings from David Tyo's 'Long Way Home'. You can check out more of David's great music here:
https://davidtyo.bandcamp.com/
If you'd like to try mixing 'Long Way Home' for yourself, you can download the full raw multitracks here:
https://cambridge-mt.com/ms/mtk/#DavidTyo
To read more about the low-spill figure-eight guitar-recording method, check out Neil Rogers's January 2014 'Session Notes' column:
https://www.soundonsound.com/techniques/session-notes-thomas-rumbold-reds
For more general advice about microphone polar patterns, try this March 2007 article by Paul White:
https://www.soundonsound.com/techniques/using-microphone-polar-patterns-effectively
Mike Senior Biog
Mike Senior is a professional audio engineer, regular SOS contributor, and author of the best-selling books Mixing Secrets For The Small Studio & Recording Secrets For The Small Studio. He runs the Cambridge-MT educational resources site (including the web's largest free multitrack download library) and hosts two monthly independent podcasts, Project Studio Tea Break and the Cambridge-MT Patrons Podcast.
Chapters
00:00 - Introduction
00:40 - Inconsistent snare hits
05:25 - Sustaining snare hits
08:15 - Enhancing attack
12:29 - Summary
If you'd like to listen more critically to the audio examples, you can download a high-resolution 24-bit/44.1kHz WAV of this whole episode from the podcast support page for this show https://www.soundonsound.com/techniques/three-ways-compress-snare-mike-senior-podcast
Credits
This month's episode features recordings from The Purple Hat Mob's 'Access Denied' and Dunning Kruger's 'Japan Song'. If you'd like to try mixing these projects for yourself, you can download the full raw multitracks for them here:
http://cambridge-mt.com/ms/mtk/#PurpleHatMob
http://cambridge-mt.com/ms/mtk/#DunningKruger
These projects were also featured in Sound On Sound in the February 2020 'Mix Rescue' column, and in the October 2012 and February 2013 'Session Notes' columns, which can be found in the magazine's article archives here:
https://www.soundonsound.com/techniques/mix-rescue-overcoming-room
https://www.soundonsound.com/techniques/session-notes-0
https://www.soundonsound.com/techniques/session-notes-writing-recording-cello-overdubs
For more general advice about compressing all kinds of drums, check out this Sound On Sound cover feature from February 2017 called 'Drum Compression: Fashion The Sound You Want':
https://www.soundonsound.com/techniques/compression-fashion-drum-sound-you-want
Mike Senior Biog
Mike Senior is a professional audio engineer, regular SOS contributor, and author of the best-selling books Mixing Secrets For The Small Studio & Recording Secrets For The Small Studio. He runs the Cambridge-MT educational resources site (including the web's largest free multitrack download library) and hosts two monthly independent podcasts, Project Studio Tea Break and the Cambridge-MT Patrons Podcast.
You’ll hear interviews, features, discussion, opinion and occasional demos of the gear we’re reviewing from many of the SOS magazine staff and our expert Freelance team.
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