Folgen
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In this episode, Eddie Bazil breaks down the different types of EQ, explains their most common uses in mixing and production, and demonstrates how they shape and enhance sound with practical audio examples.
Chapters
00:00 - Introduction
00:48 - What EQ Is And Different Types
01:33 - Active And Passive
02:45 - Linear Phase And Minimum Phase
03:46 - High-Pass and Low-Pass Filters
04:36 - Example 1: Using Synth Filters
06:47 - Common Functions Of EQ
07:27 - Example 2: Shaping A Kick Drum
10:31 - Example 3: Rebalancing An Acoustic Guitar
13:48 - Selecting The Right EQ Shape
15:55 - Managing Redundant Frequencies
18:15 - Example 4: Rebalancing A Mix#PultecEQP-1 #XferSerum #BozDigitalTransgressor2 #EventideSplitEQ #SonibleEntropyEQ+ #SSLNativeXSaturator #SSLValveComp #TokyoDawnTDRArbiter
Track Credits
Example 2: from 'Puppet' by John Walden.
Example 3: from James Perret.
Example 4: from 'Another Way' by forester. Written, performed and produced by RenĂŠ Schneeberger.
https://foresterdnb.bandcamp.com/music
https://open.spotify.com/intl-de/artist/2BtzZiEDaReXLveskYtYkm
https://soundcloud.com/foresterdnb
https://cambridge-mt.com/Eddie Bazil Biog
Eddie 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, and many more. 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 began developing libraries for various software manufacturers, including Native Instruments, Kiesel, Sound Effects Library, Rob Papen, Arturia, and Propellerheads.During this time, he trained in music production. He soon gained several 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, and was commissioned to write the score for Macbeth that ran at 2 Way Mirror at Alexander Palace for the Cambridge Shakespeare Company. This led to him offering educational workshops and classes, and becoming a contributing creator and Forum moderator for Sound On Sound.
Recently, he was invited by the Recording Academy to become a professional member, approved educator, and mentor for their member base. Eddie now concentrates on providing private sound design and mixing/production tuition, and creating content for Sound On Sound magazine.
https://eddiebazil.co.uk/
Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts -
Professional producers Chevy One and Gareth Young talk to Julian Rodgers about the advantages of a hybrid hardware and digital studio setup and how combining the two can streamline workflow and speed up modern music production.
Chapters
00:00 - Introduction01:07 - Hardware In A Modern Hybrid Studio
03:47 - What Does Hybrid Currently Mean
07:31 - Benefits Of Having A Console
08:43 - Using Control Surfaces
14:54 - Matching Tools To Tasks
23:24 - On The Way In And The Way Out
31:46 - Recallable And Software-Integrated Hardware
37:16 - Hardware Vs Software Workflow
#LA2A #Console1 #Audient #SSL
Chevy One Biog
Award-winning producer and composer Chevy has built a two-decade career across records, global brands and music technology. Operating a modern hybrid studio, he balances analogue commitment with digital flexibility. Recent work includes IKEAâs latest National Swedish campaign and product leadership at All Our Minds.
https://www.linkedin.com/in/joseluismontorohttps://audiocentralstudio.co.uk
Gareth Young Biog
Gareth is the owner of Cube recording studios a residential studio in Cornwall where he has worked with clients such as The XX, Tom Misch and Sam Ryder. Gareth has recently co-written and produced Tom Meighan's top twenty debut solo album, âThe Reckoning â and as a writer/producer he has co-written and produced hits for the Sugababes, Appleton, Dannii Minogue, Ronan Keating and All Saints to name a few.
http://garethyoung.com
https://www.facebook.com/cuberecordingcornwall
https://x.com/cuberecording
https://www.instagram.com/cube_recordingJulian Rodgers Biog
Julian Rodgers is a freelance writer and audio engineer with a background in live sound. After many years working in education introducing new users to Pro Tools, he now lives by the sea in West Cornwall, where he plays keyboards in a couple of bands. He also plays bass and guitar equally badly, and remains an enthusiastic collector of microphones and opinions about all things audio.
https://www.linkedin.com/in/julian-rodgers-04621926Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts
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Fehlende Folgen?
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Eddie Bazil demonstrates creative uses of advanced automation as a musical tool in the DAW, showing how automation can add movement, expression and musical detail. The episode covers shaping arpeggiated parts, using MIDI CC for dynamic control, modulating vocal tracks and applying MIDI note expression to enhance performance.
Chapters
00:00 - Introduction
01:49 - Setting Up Automation Lanes
02:30 - Example 1: Adding ARP Movement
04:51 - Example 2: Using MIDI CC For Velocity
07:41 - Example 3: Modulating A Vocal Track
14:52 - Example 4: MIDI Note Expression In A DAW#gforce #imposcar3 #cubase #deviousmachines #infiltrator2 #cableguys #shaperbox #ovoxvocoder #eventide #blackhole
See Also:
https://www.soundonsound.com/techniques/using-phaser-effects-podcastEddie Bazil Biog
Eddie 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, and many more. 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 began developing libraries for various software manufacturers, including Native Instruments, Kiesel, Sound Effects Library, Rob Papen, Arturia, and Propellerheads.During this time, he trained in music production. He soon gained several 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, and was commissioned to write the score for Macbeth that ran at 2 Way Mirror at Alexander Palace for the Cambridge Shakespeare Company. This led to him offering educational workshops and classes, and becoming a contributing creator and Forum moderator for Sound On Sound.
Recently, he was invited by the Recording Academy to become a professional member, approved educator, and mentor for their member base. Eddie now concentrates on providing private sound design and mixing/production tuition, and creating content for Sound On Sound magazine.
https://eddiebazil.co.uk/
Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts -
Helmuts Bems, Co-Founder and CEO of Sonarworks, joins Sam Inglis to discuss the findings of their recent AI survey. The conversation explores differing industry perspectives on generative versus assistive AI and provides insight into the extent to which professional musicians are already adopting these emerging technologies.
Chapters
00:00 - Introduction00:33 - A Data-Driven Audio Company
04:56 - Assistive Vs Generative AI
07:36 - New Categories Of Tools
08:27 - Early Adoption Of AI Tools
12:50 - Negative Or Neutral Tensions
18:37 - Tackling Ethical Issues
21:25 - Where Music Production Is Heading
26:33 - The Impact Across Industries And Musical Genres
33:05 - Changes In Music Consumption
37:08 - How Technology Has Shaped Music
42:41 - AI As A Huge Industry Disruption
For more insights and data read the related article: www.soundonsound.com/music-business/ai-music-tech-2026Full Report (PDF): https://blog-uploads.nyc3.digitaloceanspaces.com/2026/01/ai-music-production-skills-report-2026-sonarworks.pdf
Sonarworks Blog (Short Version): www.sonarworks.com/blog/research/future-music-production-human-producer-survey-2026
Sonarworks Biog
Sonarworks is an award-winning audio technology company specialising in sound calibration and audio personalisation. Founded in 2012 and headquartered in Riga, Latvia, the company develops patented calibration and AI-driven technologies that enable consistent, reference-grade audio across a wide range of listening environments and professional workflows. Sonarworksâ solutions are trusted by more than 300,000 studios worldwide and are widely used by audio engineers, producers and content creators.In addition to its professional studio tools, Sonarworks has expanded into consumer audio through its SoundID personalisation technology, which adapts sound to individual hearing profiles and preferences. The company licenses its technology to global audio and consumer electronics partners and continues to be recognised internationally for its innovation in precision audio and sound optimisation.
https://www.sonarworks.com/blog/researchHelmuts Bems (Co-founder, CEO) Biog
Helmuts Bems is Co-Founder and Chief Executive Officer of Sonarworks, a leading audio technology company based in Riga, Latvia. He co-founded the company in 2012 and has overseen its strategic growth into a global innovator in sound calibration and personalised audio solutions, securing multiple financing rounds and international partnerships to expand its technologies across professional and consumer markets. Bems holds a Bachelorâs degree in Economics and Business Administration from the Stockholm School of Economics in Riga. Under his leadership, Sonarworks has been recognised for advancing precision audio technologies used by engineers and studios worldwide and has achieved notable industry accolades and commercial milestones. Driven by complex challenges, Bems combines strategic planning and team leadership with a commitment to advancing deep-tech innovation, and maintains personal interests in endurance sports and outdoor pursuits.
Sam Inglis Biog
Editor 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
Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts
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Paul White and Hugh Robjohns pick their software and hardware highlights from the gear they've reviewed in the last 12 months.
Chapters
00:00 - Introduction
00:14 - Cranborne Audio Brick Lane Compressor
03:56 - Soundtoys SpaceBlender
05:40 - Braingasm Ocula
08:18 - Sub51 And Soundtrax Drop Pad
09:16 - Red Panda Radius Ring Modulator
10:40 - Source Audio Encounter Delay+Reverb
11:45 - Electro-Harmonix Oceans Abyss
13:05 - Sound Devices Astral ARX16 Receiver
15:23 - Sound Devices Astral HH Transmitter
16:31 - Sound Devices Astral TX Transmitter
17:17 - RME ADI-2/4 Pro Converter
18:34 - Newfangled Audio Articulate Audio ADSR
19:54 - Overloud THU v2 Guitar Amp Simulator
20:37 - Grace Design m701 Audio InterfaceGear4Music (affiliate link UK/EU only)
Red Panda Radius
EHX Oceans AbyssSweetwater (affiliate link North America only)
Cranborne Brick Lane 500
Red Panda Radius
Source Audio Encounter
EHX Oceans Abyss
Sound Devices Astral ARX16
Sound Devices Astral HH
Sound Devices Astral TX
RME ADI-2-4 Pro SE
Grace Design m701
#cranborneaudio #soundtoys #braingasm #sub51 #soundtrax #redpanda #sourceaudio #electroharmonix #sounddevices #rme #newfangledaudio #overloud #gracedesignPaul White Biog
Paul 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 Producerâs Manual.
Having established his own multitrack home studio in the 1980s heâs worked with many notable names including Bert Jansch and Gordon Giltrap. Heâs 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 doesnât see why everyone else shouldnât 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!
Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts -
In this episode, Paul White and Hugh Robjohns address some of the most frequently-asked questions about home studio recording and production. They share practical, experience-based advice to help you get the best results from your setup, whatever your budget or space.
Chapters
00:00 - Introduction
00:14 - Improving Your Room Acoustics
02:29 - Working On Headphones
04:13 - Dampening With A Duvet
05:50 - Choosing The Right Speakers
06:50 - Mics And Preamps
09:02 - Cables And Connectors
11:28 - Hardware Vs Plug-ins
14:09 - When To Add A Patchbay
16:18 - Preparing Music For Streaming
18:59 - Bass Drivers And Room Size#IsoAcoustics #AKGC414 #NeumannU87 #AudioTechnica2020 #ShureSM57 #ShureSM58 #Neutrik #Cannon
Paul White Biog
Paul 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 Producerâs Manual.
Having established his own multitrack home studio in the 1980s heâs worked with many notable names including Bert Jansch and Gordon Giltrap. Heâs 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 doesnât see why everyone else shouldnât 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!
Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts -
Eddie Bazil explores advanced vocal processing techniques to achieve a clean, professional vocal track. He demonstrates how to control sibilance, tame resonances and apply quick corrective steps that enhance vocal clarity and ensure the performance sits perfectly in the track.
Chapters
00:00 - Introduction
00:30 - Common Vocal Track Issues01:04 - Example 1: De-essing Sibilance
08:57 - Example 2: Taming Resonance With EQ
16:13 - Example 3: Reverb Ducking25:22 - Example 4: Frequency Ducking
Track Credits
Example 1 - written and performed by David Plummer and Becky Bremner - https://www.smokinggoats.co.ukExamples 2, 3 and 4 - âPuppetâ written, performed and recorded by John Walden, vocals by Yvonne McKeown
#SSLVocalStrip #FabFilterProDS #FabFilterProQ3 #FabFilterMBC #FabFilterProC #UnfilteredAudioTails #TokyoDawnNovaGEEddie Bazil Biog
Eddie 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, and many more. 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 began developing libraries for various software manufacturers, including Native Instruments, Kiesel, Sound Effects Library, Rob Papen, Arturia, and Propellerheads.During this time, he trained in music production. He soon gained several 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, and was commissioned to write the score for Macbeth that ran at 2 Way Mirror at Alexander Palace for the Cambridge Shakespeare Company. This led to him offering educational workshops and classes, and becoming a contributing creator and Forum moderator for Sound On Sound.
Recently, he was invited by the Recording Academy to become a professional member, approved educator, and mentor for their member base. Eddie now concentrates on providing private sound design and mixing/production tuition, and creating content for Sound On Sound magazine.
https://eddiebazil.co.uk/
Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts -
Paul White explores the creative potential of using 'found' sounds, demonstrating how items found within your surroundings can be sampled, manipulated and transformed into complete tracks within your DAW using a few simple tools.
Chapters
00:00 - Introduction
00:36 - Software Options
01:27 - Methods Used For This Demo
01:58 - Creating A String Patch
04:49 - A Few More Examples
08:03 - Constructing A Unique Percussion Kit
11:01 - Layering Sounds With Synth Pads
12:13 - Using The Voice Creatively
13:00 - A Finished Track Using The Sampled SoundsPaul White Biog
Paul 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 Producerâs Manual and in 2010 he received a BASCA award for his contributions to the music industry.
Having established his own multitrack home studio in the 1980s heâs worked with many notable names including Bert Jansch and Gordon Giltrap. Heâs 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 doesnât see why everyone else shouldnât too!
http://www.cydoniacollective.co.uk/
Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts
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David Mellor explores how the Yamaha NS-10M monitors became a studio staple and why, decades after being discontinued, engineers are still seeking out second-hand pairs.
Chapters
00:00 - Introduction
00:15 - Why NS-10Ms Became a Studio Staple
02:11 - Making Better Mixing Decisions
03:49 - A Second Pair of NS-10Ms
05:23 - Mixing With Missing Frequencies
09:11 - Reflex vs Closed Box Monitors
11:35 - Why Pleasant Isnât Always Better
13:29 - Mixes That Translate
15:40 - Making Rapid Mixing Decisions
18:52 - The Case for Closed-Box MonitorsThe Phil Ward Article - https://www.soundonsound.com/reviews/yamaha-ns10-story
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. David has also had over 600 works published in the field of 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, also returning to guest lecture at Surrey University. From 2001 until recently David has offered courses in audio online with Audio Masterclass.
David now enjoys making YouTube videos for his 84,000 subscribers and releasing music on streaming services and Bandcamp for his dozen or so listeners.
YouTube - https://www.youtube.com/@audiomasterclass
Spotify - https://open.spotify.com/artist/6OkaDx4vB4O2ssUA5p4M8g
Bandcamp - https://davidmellor.bandcamp.com/
Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts -
In this episode, David Mellor continues his exploration of microphone polar patterns by discussing techniques for capturing stereo recordings. He examines how the choice of polar pattern and microphone placement can be used effectively to achieve a balanced and immersive stereo image.
Chapters
00:00 - Introduction01:10 - Defining Mono
03:08 - Binaural Recording
04:24 - Defining Stereo
05:28 - Number Of Mics And Placement
06:58 - Polar Patterns
07:48 - Figure of 8 Demo
09:09 - The Blumlein Pair Configuration
11:05 - Coincident Cross Pair Figure Of 8 With Demonstration
16:53 - Coincident Cross Pair Of Cardioid With Demonstration
21:35 - Mic Spacing - The ORTF Configuration
24:31 - Mic Spacing - Omnidirectional Without Angling
27:28 - Medley Of Configurations
29:38 - Summary
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. David has also had over 600 works published in the field of 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, also returning to guest lecture at Surrey University. From 2001 until recently David has offered courses in audio online with Audio Masterclass.
David now enjoys making YouTube videos for his 84,000 subscribers and releasing music on streaming services and Bandcamp for his dozen or so listeners.
YouTube - https://www.youtube.com/@audiomasterclass
Spotify - https://open.spotify.com/artist/6OkaDx4vB4O2ssUA5p4M8g
Bandcamp - https://davidmellor.bandcamp.com/
Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts -
David Mellor discusses how to create custom effects in a DAW without relying on expensive plug-ins. Here he demonstrates his approach to creating a filter pan effect using an EQ with high-pass and low-pass filters, highlighting how custom effects can help give your music a unique edge.
Chapters
00:00 - Introduction
02:05 - Pan Effect03:02 - Mono Pan
04:30 - Static Pan
06:21 - Music Track
06:42 - Creative Pan Effect
09:00 - Pan Effect Using A Low-Pass Filter
13:23 - Crossfading Using Filters
17:15 - Effecting Individual Instruments
#slatedigital #infinityeq #protoolsDavid 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. David has also had over 600 works published in the field of 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, also returning to guest lecture at Surrey University. From 2001 until recently David has offered courses in audio online with Audio Masterclass.
David now enjoys making YouTube videos for his 84,000 subscribers and releasing music on streaming services and Bandcamp for his dozen or so listeners.
YouTube - https://www.youtube.com/@audiomasterclass
Spotify - https://open.spotify.com/artist/6OkaDx4vB4O2ssUA5p4M8g
Bandcamp - https://davidmellor.bandcamp.com/
Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts
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In this episode, sound-designer Eddie Bazil looks at ways of enhancing a variety of individual tracks and full mixes using plug-ins that are designed to achieve the retro warmth and cohesion of tapes and valves.
Chapters
00:00 - Introduction
01:32 - What Is Harmonic Distortion
02:32 - Advances In Music Production Quality
04:47 - The Introduction Of CD
05:59 - Triodes And Pentodes Vacuum Tubes
06:47 - Analysing Harmonic Content
07:56 - Example 1: TR-808 Sub Bass
10:35 - Example 2: Affecting A Whole Mix*
12:39 - Example 3: Adding Saturation
15:07 - The Benefits Of Tape
17:26 - Example 4: Applying Tape Effects To A Bassline*
20:59 - Example 5: Adding Tape To Beats
23:47 - Example 6: Enhancing A Piano Track
26:56 - Summary
* Demonstration track âPuppetâ (Examples 2 and 4), written, performed and recorded by John Walden. Vocals sung by Yvonne McKeown.#voxengospan #SummitAudio #T-RackS #Kraftur #Aphex #SSL
Eddie Bazil Biog
Eddie 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/
Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts -
Paul White delves into the fun world of modelled guitars, amps and cabs, that cannot only make your songwriting and studio sessions more creative and unique, but can also greatly assist with streamlining live performances.
Chapters
00:00 - Introduction
00:12 - Techniques For Modelling Amps And Cabs
04:22 - Amplifier Cloning
05:49 - Compression To Improve Tonal Quality
07:58 - Adding Room Ambience
09:41 - Cleaning Up The Sound With EQ
10:51 - Guitar Modelling Options
13:05 - Why We Have Split Pickups
16:24 - Non-Guitar Sounds At Your Fingertips
18:12 - Modelled Bass Guitars#BossVG800 #MODOBass2
Paul White Biog
Paul 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 Producerâs Manual.
Having established his own multitrack home studio in the 1980s heâs worked with many notable names including Bert Jansch and Gordon Giltrap. Heâs 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 doesnât see why everyone else shouldnât too!
http://www.cydoniacollective.co.uk/
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In this episode, Paul White looks at some creative ways that you can manipulate the standard plug-ins found in your DAW, using them alone or in combination with one another, to create some unique sounds, effects and rhythms.
Chapters
00:00 - Introduction
00:08 - Hard Tune Effect
01:39 - Processing Speech
03:15 - Fast Pitch Processing
04:04 - Using Match EQ On Guitars
06:07 - Distortion And Reverb
07:14 - Adding In Pitch Shift
07:41 - Reverb And Distortion
09:07 - Adding More Reverb And Delay
10:02 - Using Distortion On Drums
11:30 - Using A Rotary Speaker On Drums
12:43 - Using An Impulse Response With Convolution ReverbPaul White Biog
Paul 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 Producerâs Manual.
Having established his own multitrack home studio in the 1980s heâs worked with many notable names including Bert Jansch and Gordon Giltrap. Heâs 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 doesnât see why everyone else shouldnât too!
http://www.cydoniacollective.co.uk/
Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts -
Paul White and Hugh Robjohns pick their software and hardware highlights from the gear they've reviewed in the last 12 months.
Chapters
00:00 - Introduction
00:24 - Lynx Hilo 2
02:49 - Blackstar Polar 2 / Polar 4
03:39 - AEA TRP 3 Preamp
05:40 - Logic Pro 11
07:24 - RME Fireface UFX III
09:57 - Dreamtonics Vocoflex
11:33 - Hum Audio LAAL Limiter
13:43 - FireSonic FireSpacer
14:54 - Crookwood VU Meter
17:03 - Nektar Panorama CS12
17:42 - IK Multimedia Tonex One
18:23 - Sound Particles inDelay
19:19 - Sonnect SoundWire InterfacePaul White Biog
Paul 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 Producerâs Manual.
Having established his own multitrack home studio in the 1980s heâs worked with many notable names including Bert Jansch and Gordon Giltrap. Heâs 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 doesnât see why everyone else shouldnât 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!
Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts -
For musicians and producers that struggle to finish tracks, Eddie Bazil explains the benefits of creating musical snippets and gives us some examples as to how we can tap into different moods, use sound design techniques to create something unique that becomes a useable addition to our musical catalogues and create pieces that stand the test of time.
âSnippets and the creating of, serve to strengthen sound ideas, hone mixing and production skills, help to understand timing and flow, act as a testbed for song structuring ideas and are the playground for testing and mastering all manner of plug-insâ.
Chapters
00:00 - Introduction
00:19 - What Is A Snippet?
01:53 - The Benefits Of Creating Snippets
04:26 - Planning Your Snippets
06:07 - Sound Design
06:53 - Example 1: Phased Pad
17:33 - Example 2: Happy, Mood-Lifting
22:01 - Example 3: Drama And Tension#SoundtoysPhaseMistress #FabFilterTimeless2 #EventideBlackhole #SteinbergGrooveagent #GforceimpOSCar3 #WavesOvoxVocoder #SteinbergHalionTrip #RobPapenAlbino #Kontakt #NIMaschine2 #AirHybrid3
Eddie Bazil Biog
Eddie 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/
Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts -
Paul White and Hugh Robjohns talk us through four essential studio effects that every music producer or mix engineer needs to know for creating an effective mix, placing them in order of importance and giving an insight into how they can be used effectively.
Chapters
00:00 - Introduction
00:21 - Effect 1: Reverb
02:11 - Convolution Reverb
04:28 - Reverb Controls
05:53 - Using Aux Sends
08:00 - Effect 2: EQ
08:57 - EQ Filters
11:44 - The Shelving Filter
13:40 - Parametric EQ
14:17 - Cutting Vs Boosting
15:26 - Effect 3: Delay
16:21 - Where To Use Delay
17:40 - Effect 4: Compression
18:43 - Setting Threshold and Ratio
19:51 - Soft-Knee Compression
20:33 - Tweaking Presets
22:08 - Other Controls
26:02 - Parallel Compression
30:11 - Creative Modulation Effects
30:58 - Using Effects SparinglyPaul White Biog
Paul 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 Producerâs Manual.
Having established his own multitrack home studio in the 1980s heâs worked with many notable names including Bert Jansch and Gordon Giltrap. Heâs 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 doesnât see why everyone else shouldnât 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!Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts
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Pro Audio Design Engineer Andy Bereza summarises his impressive career in a chat with Paul Gilby. Andy founded Allen & Heath Mixers before working for TEAC/Tascam, where he conceived the TEAC Portastudio the portable multitrack cassette tape recorder that revolutionised the home recording market in the 1980s. He then co-founded Bandive-Turnkey where he developed a range of budget signal processors and the famous Great British Spring reverb to sell to the rapidly expanding Home Studio Recording market. At the same time, he was a consultant for the Fostex X15 multitrack cassette as well as helping to steer further product designs.
Chapters
00:00 - Introduction
00:34 - Getting Into Electronics
01:45 - Building Custom Desks
04:09 - Allen & Heath Mixers
06:07 - The Minimixer
08:54 - The Pink Floyd Desks
12:24 - Allen & Heath Mod II Mixer
13:20 - Expanding The Company
15:23 - Moving To Tascam
16:58 - Constructing The Portastudio
21:57 - Setting Up Bandive / Turnkey
24:55 - Creating Products For The Home Studio
29:03 - Fostex Releases in the 80s
30:48 - Bandive Seck Mixers
32:08 - Expanding Turnkey
35:14 - Selling To Harman
38:38 - Launching Digital Postcards
41:07 - A Brief Career Summary
42:13 - Proudest Career MomentAndy Bereza Biog
Andy Bereza started his career as a Audio Design Engineer after moving to London in 1967 to study Electronics at Chelsea University. A chance encounter with Siggy Jackson in Tin Pan Alley gave him his first custom commission and many more soon followed, with Andy building mixers for Bill Shepherd (producer of the Bee Gees), Alan Price, Maurice Gibb and also a location recording mixer for the Clockwork Orange movie.In 1970 Andy became the Founder of Allen & Heath, where he initially developed the black range of mixers, then their first mass market product the Minimix. At the same time he creating custom quadraphonic live desks for The Who along with Pink Floyd's Pompeii and Dark Side Of The Moon touring desks.
In 1975, Andy joined TEAC America and was employed to introduce Tascam into Europe. Then in 1976 he was contracted directly with TEAC Japan where he developed the iconic Portastudio that changed the face of the home recording industry. In 1977 he became one of the founders of Bandive Ltd and helped to develop further products for the home recording market and created the popular Turnkey By Mail catalogue during the late 1970s to mid 80s. Bandive then opened the Turnkey retail store in central London.
Following the sale of Bandive / Turnkey to Harman UK in 1987, he briefly became their Marketing Director, before signing up to become Managing Director of Fostex in 1991. Later in the 90s Andy left the Pro Audio industry and turned his attention to multimedia where he developed interactive product catalogues on CD-ROM.
Paul Gilby Biog
Paul Gilby is the co-founder, along with his brother Ian, of Sound On Sound magazine in 1985. Having written many product reviews and interviews over the years he now heads up the Digital Media side of the business managing the team that looks after the SOS website as well as the video and podcast productions.Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts
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Paul White and Hugh Robjohns discuss the basics of a good home studio setup, including choosing the right equipment and setting up your space correctly for achieving the best recording and mixing results.
Chapters
00:00 - Introduction
00:14 - Minimum Equipment
00:54 - Audio Interfaces
02:46 - Headphones and Speakers
03:21 - Choosing A Microphone
08:55 - Additional Accessories
12:27 - Desks And Monitor Stands
16:21 - Speakers And Acoustic Treatment
21:06 - Choosing Studio Monitors
22:35 - Subwoofers And Bass Traps
26:16 - Cutting Reflections For Vocals
28:48 - Recaphttps://www.soundonsound.com/techniques/studio-sos-making-small-room-sound-good
Paul White Biog
Paul 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 Producerâs Manual.
Having established his own multitrack home studio in the 1980s heâs worked with many notable names including Bert Jansch and Gordon Giltrap. Heâs 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 doesnât see why everyone else shouldnât 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!Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts
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Not everyone has access to a professional studio with bespoke wiring. Here, Paul White and Hugh Robjohns discuss the best practises for avoiding and eliminating electrical noise interference in your home studio.
Chapters
00:00 - Introduction
00:21 - Arranging Plugboards In A Home Studio
02:09 - Uninterruptible Power Supplies
03:59 - Grounding Issues In Laptop Systems
07:19 - Radiated Interference
08:54 - Isolated Power Supplies
11:10 - Procedure For Eliminating Noise
12:38 - Breaking The Ground Pathhttps://www.groundology.co.uk/
https://artproaudio.com/Paul White Biog
Paul 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 Producerâs Manual.
Having established his own multitrack home studio in the 1980s heâs worked with many notable names including Bert Jansch and Gordon Giltrap. Heâs 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 doesnât see why everyone else shouldnât 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!Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts
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