Episódios

  • 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 - Recap

    https://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 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!

    Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts

  • 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 Path

    https://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 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!

    Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts

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  • Eddie Bazil gives us more pointers on constructing beats, incorporating useful tools such as Drum Replacement Software and pre-constructed Loops, then adding enhancements using timing, pitch and other processing tips.

    Chapters
    00:00 - Introduction
    00:33 - Drum Replacement Software
    01:41 - Example 1: Using Hit'n'Mix RipX DAW
    05:41 - Example 2: Making Loops Your Own
    11:36 - Example 3: Enhancing A Kick With Pitch And Timing

    Track credit for example 1: Ice Box featuring Omarion, produced by Timbaland - https://en.wikipedia.org/wiki/Ice_Box_(song)


    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

  • An introduction to using sample libraries focusing on the string section. Composer and Producer Sam Boydell talks us through selecting an orchestral sound library, creating a simple string motif and incorporating more realism into the finished piece by using a range of techniques, including articulations, dynamics and panning.

    Chapters
    00:00 - Introduction
    01:18 - The Tools Of The Trade
    03:13 - Choosing Your Sound Library
    06:01 - Starting With A String Motif
    10:39 - Allocating Orchestral Positions
    11:58 - Humanising The Performance
    14:57 - Fine-Tuning Velocity And Timing
    17:15 - Adding MIDI Automation
    19:56 - Placing The Orchestra In A Space
    22:17 - Incorporating Articulations
    24:39 - Creating More Dynamics
    27:46 - Mixing And Mastering

    Sam Boydell Biog
    Learning his craft by working in studios with the likes of Gareth Young (Sugababes), Stephen Lipson (Hans Zimmer) and Mark Hill (Craig David), Sam has grown into being credited for Composing many award-winning Commercials and Documentaries such as drift-racing’s, ‘Clipping Point’ (2022) rated at 9.3/10 on IMDb, as well as, prestigious TV shows like, Match of the Day (BBC).

    Sam is also considered one of the premiere Sound Recordists & Commercial Mixers in the UK, having worked with the likes of David Beckham, ITV and Ferrari.

    Further enterprises include the music label 60hz with Mark Hill and Neil Simpson, which works to nurture talent such as Nat Slater & Kyi in the past. And, Education, where he works with local universities and schools.

    https://boyde.tv/

    Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts

  • In the first of a two-part series, Eddie Bazil explains how some simple adjustments in your DAW will help you to achieve more bounce in your drum beats, by adding syncopation, swing and dynamism.

    Chapters
    00:00 - Introduction
    00:20 - A Quick History Of Beat Production
    01:07 - Early Programmable Drum Machines
    04:33 - Defining A Good Beat
    05:15 - Example 1: Shifting The Snare To Drive A Beat
    07:55 - Example 2: Altering Dynamics And Note Durations
    10:51 - Example 3: Adding Urgency With A Backbeat
    12:37 - Example 4: Creating Swing With The Hi-Hats

    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

  • A valuable test for recording engineers, David Mellor gives examples of different mic types to emphasise the importance of knowing your mic collection in detail so that you're using the correct one for the recording task at hand. Cardioid, Supercardioid, Figure of 8 and Omnidirectional are compared.

    Chapters

    00:00 - Introduction
    00:23 - Testing The Schoeps CMC 6
    01:44 - Cardioid Examples
    05:39 - Testing With Percussion
    06:33 - Supercardioid Examples
    08:40 - Figure Of 8 Examples
    11:22 - Omnidirectional Examples
    14:05 - Testing With Percussion
    14:58 - Testing Each Mic Type at 0 Degrees
    17:00 - Testing Each Mic Type at 45 Degrees
    18:19 - Testing Each Mic Type at 90 Degrees
    19:42 - Testing Each Mic Type at 180 Degrees
    21:15 - 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. 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/

    Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts

  • In the first of this two-part series, David Mellor gives us an introduction to mic polar patterns, explaining the best type of mic to use for various recording situations.

    Chapters

    00:00 - Introduction
    00:43 - Influenced By The EMI Emiguide Tapes
    04:08 - What Is A Polar Pattern?
    06:46 - Omnidirectional and Figure Of 8
    08:43 - Cardioid, Hypercardioid and Super-Cardioid
    11:14 - Pressure-Sensitive and Pressure Gradient
    11:58 - Imperfections In Higher And Lower Frequencies
    13:01 - The Decca Tree
    14:06 - Abbey Road Demonstration
    15:32 - 0 degree axis Figure Of 8
    16:10 - 90 degree axis Figure Of 8
    16:48 - 180 degree axis Figure Of 8
    17:30 - 270 degree axis Figure Of 8
    19:01 - Multi-Pattern Microphones
    19:58 - Best Usage
    24:26 - Interference Tube, Parabolic Reflector
    26:23 - Experimenting With Off-Axis


    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/

    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 last 12 months.

    Chapters
    00:00 - Introduction
    00:16 - Universal Audio Waterfall Rotary Speaker
    03:25 - Boss GM-800 Guitar Synthesizer
    04:24 - Tokyo Dawn Records Simulathe Cut
    06:33 - PreSonus Eris 3.5 Studio Monitors
    07:32 - Prism Audio Dream ADA-128
    10:07 - Walrus Audio Fable Granular Soundscape Generator

    10:59 - Blackstar St. James Amp Plug-ins
    11:55 - Zoom F8n Pro Field Recorder
    14:13 - Strymon BigSky Multi Reverb / Deco Tape Saturation
    14:49 - Line 6 HX One Pedal

    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 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!

    Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts

  • In the third and final part of this series, Rob Toulson focuses on recording drums and talks us through the issue of frequency cancellation in a multiple mic setup, details how to choose the recording sweet spot in a room and explains the various stereo mic technique options that are available.
    See the Show Notes for further details.

    Chapters
    00:00 - Introduction
    00:52 - Phase Coherence
    03:00 - Time Delays
    05:10 - Comb Filtering
    07:53 - Flipping The Polarity
    12:22 - Choosing A Recording Space
    14:56 - Mic Choice And Placement
    17:43 - Stereo Techniques
    18:08 - Spaced Pair Technique
    19:02 - Glyn Johns Mic Technique
    20:12 - Coincident Pair Technique
    21:16 - ORTF Technique
    22:20 - Mid-Side Technique
    24:30 - Comparing The Techniques
    25:22 - Other Mic Techniques

    Professor Rob Toulson Biog
    Rob is Director of RT60 Ltd, who develop mobile apps for musicians and sound engineers. RT60’s iDrumTune Pro app assists drummers with learning the skills of drum tuning and has been the number one music app in over 100 countries since its launch in 2012. More recently, Rob and RT60 developed Songzap, which simplifies the process of recording and capturing musical ideas, enabling songwriters to focus exclusively on their creativity.


    Rob stared his career as a mechanical engineer with a doctorate in digital signal processing, before following his passion and moving into the field of music technology and specialising in percussion acoustics and audio software development. Rob has held a number of academic research roles in his career, including Professor of Creative Industries at University of Westminster and Director of the CoDE Research Institute at Anglia Ruskin University. Rob’s also a successful musician, music producer and sound designer, having worked with many artists including Talvin Singh, Wilfy Williams and Mediaeval Baebes, who have previously topped the UK Classical Music Chart.

    Rob is author of a number of music related books and articles, including ‘Drum Sound and Drum Tuning’, published by Routledge in 2021, and co-editor of the ‘Innovation In Music’ book series, which is also published by Routledge. His sound design work has been included in films by BAFTA Winner Shreepali Patel and has been showcased at Glastonbury Festival, The V&A and The Natural History Museum.


    https://www.robtoulson.com/
    https://www.rt60.uk/

    Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts

  • In part 2 of this 3-part series, Rob Toulson explains how to optimise the drum sound for recording by experimenting with drum head, damping system, tuning and drum shell combinations.

    Chapters
    00:00 - Introduction
    01:09 - Drum Heads
    01:44 - Mersenne's Laws
    04:05 - 1 and 2 Ply Drum Heads
    05:45 - Damping Systems
    07:10 - Centre Dot Drum Heads
    09:27 - Choosing Your Timbre
    11:44 - Selecting Your Drum Shells
    14:25 - Optimising The Whole Kit
    19:41 - Tuning The Kick Drum

    Professor Rob Toulson Biog
    Rob is Director of RT60 Ltd, who develop mobile apps for musicians and sound engineers. RT60’s iDrumTune Pro app assists drummers with learning the skills of drum tuning and has been the number one music app in over 100 countries since its launch in 2012. More recently, Rob and RT60 developed Songzap, which simplifies the process of recording and capturing musical ideas, enabling songwriters to focus exclusively on their creativity.


    Rob stared his career as a mechanical engineer with a doctorate in digital signal processing, before following his passion and moving into the field of music technology and specialising in percussion acoustics and audio software development. Rob has held a number of academic research roles in his career, including Professor of Creative Industries at University of Westminster and Director of the CoDE Research Institute at Anglia Ruskin University. Rob’s also a successful musician, music producer and sound designer, having worked with many artists including Talvin Singh, Wilfy Williams and Mediaeval Baebes, who have previously topped the UK Classical Music Chart.

    Rob is author of a number of music related books and articles, including ‘Drum Sound and Drum Tuning’, published by Routledge in 2021, and co-editor of the ‘Innovation In Music’ book series, which is also published by Routledge. His sound design work has been included in films by BAFTA Winner Shreepali Patel and has been showcased at Glastonbury Festival, The V&A and The Natural History Museum.


    https://www.robtoulson.com/
    https://www.rt60.uk/

    Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts

  • Rob Toulson dives into the science behind how drums produce sound in this three-part series. In part one he talks us through the different pitches, frequencies and overtones, to help producers, recording engineers and indeed drummers to better understand the essentials of tuning.

    Chapters
    00:00 - Introduction
    01:16 - Dealing With Multiple Frequencies
    05:19 - Tuning The Fundamental Frequency
    10:56 - Smoothing Out Modulation
    13:31 - Harmonic Overtones
    19:12 - Controlling Decay And Damping
    23:11 - Summary

    Professor Rob Toulson Biog
    Rob is Director of RT60 Ltd, who develop mobile apps for musicians and sound engineers. RT60’s iDrumTune Pro app assists drummers with learning the skills of drum tuning and has been the number one music app in over 100 countries since its launch in 2012. More recently, Rob and RT60 developed Songzap, which simplifies the process of recording and capturing musical ideas, enabling songwriters to focus exclusively on their creativity.


    Rob stared his career as a mechanical engineer with a doctorate in digital signal processing, before following his passion and moving into the field of music technology and specialising in percussion acoustics and audio software development. Rob has held a number of academic research roles in his career, including Professor of Creative Industries at University of Westminster and Director of the CoDE Research Institute at Anglia Ruskin University. Rob’s also a successful musician, music producer and sound designer, having worked with many artists including Talvin Singh, Wilfy Williams and Mediaeval Baebes, who have previously topped the UK Classical Music Chart.

    Rob is author of a number of music related books and articles, including ‘Drum Sound and Drum Tuning’, published by Routledge in 2021, and co-editor of the ‘Innovation In Music’ book series, which is also published by Routledge. His sound design work has been included in films by BAFTA Winner Shreepali Patel and has been showcased at Glastonbury Festival, The V&A and The Natural History Museum.


    https://www.robtoulson.com/
    https://www.rt60.uk/

    Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts

  • Eddie Bazil dives into some of his favourite plug-ins and gives us a series of examples on how to use these tools creatively for designing unique and interesting beats, sequences and mixes.

    Chapters
    00:00 - Introduction
    00:21 - What Makes A Tool Creative?
    03:25 - Example 1: A Cinematic Piano Effect
    07:03 - Example 2: Creating A More Dynamic Beat
    10:19 - Example 3: Sequencer-Based Multi Effects On A Drum Beat
    13:26 - Example 4: Reshaping A Musical Sequence
    21:21 - Example 5: A Sound Design Exercise

    Credits
    ‘Puppet’ track written, performed and recorded by John Walden

    Vocals by Yvonne McKeown


    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/

    https://theaudioproductionhub.pivotshare.com/

    Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts

  • 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/

    Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts

  • 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/

    Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts

  • 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/

    Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts

  • 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 this first episode he teaches the correct use of terminology and gives his three golden rules of Gain Staging.

    Chapters
    00:00 - Introduction
    01:38 - Using The Correct Terminology
    05:56 - Why Use Gain Staging?
    11:04 - The Benefits Of Gain Staging
    15:31 - Working In Digital Audio
    27:17 - Three Golden Rules Of Gain Staging

    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/

    Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts

  • Eddie Bazil demystifies Compression and Expansion with a detailed explanation of their uses and with a range of practical examples using plug-ins.

    Chapters
    00:00 - Introduction
    00:22 - Compressors And Expanders Explained
    01:33 - Compressor Behavioural Types
    02:40 - Common Compressor Topologies
    06:06 - Example 1: Boz Digital Manic Compressor On Drums
    10:26 - Example 2: FabFilter Pro MB On A Synth Line
    13:28 - Example 3: PreSonus Studio One Expander On A Drum Beat
    15:26 - Example 4: A Drum Beat Using Different Topologies
    20:24 - Example 5: Using Sidechaining On Reverb
    23:28 - Example 6: FabFilter Pro MB On A Vocal Line
    27:16 - Example 7: Sidechain Compression And Expansion To Create Texture And Motion

    Credits
    Example 6 - The song and the poem are both called Everyone Sang. The poem was by Sigfried Sassoon and was set to music and performed by Anne Gregson.
    www.annegregson.co.uk
    Recorded at www.mrpunch.info


    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/

    https://theaudioproductionhub.pivotshare.com/

    Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts

  • Paul White takes us through the history and evolution of guitar synths, from early attempts at creating onboard sounds and audio to MIDI pick-ups, through to using pedals and plug-ins to emulate synth effects.

    Chapters
    00:00 - Introduction
    00:13 - Types of Guitar Synths
    04:03 - The Introduction Of MIDI
    05:19 - Pitch To MIDI Pickups
    08:04 - Alternative Systems
    10:38 - Using Pedals To Emulate Synths
    13:31 - Introducing Plug-ins
    15:10 - The Future Of Audio To MIDI

    Paul White Biog
    Paul 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/

    Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts

  • Paul White explains how to get the best out of Amp Simulation software, from getting a good guitar input signal, setting up effective monitoring for encouraging the best performance and tips on achieving the desired end-effect.

    Chapters
    00:00 - Introduction
    00:50 - Getting A Guitar Signal
    03:39 - Dealing With Latency
    04:42 - Monitoring
    05:54 - Using Your Own Pedals
    08:15 - Using Speaker Cabinet Emulations
    09:11 - Adding Room Ambience
    10:00 - Creative Sound Design
    10:27 - Using Amp Modelling With Other Instruments

    Paul White Biog
    Paul 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/

    Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts

  • Paul White and Hugh Robjohns pick their hardware and software highlights from the last 12 months, plus feature some late arrivals.

    Chapters
    00:00 - Introduction
    00:14 - ASM Hydrasynth Deluxe
    02:01 - Boss RE-202 Space Echo / IK Multimedia Amplitube X-SPACE Reverb / Red Panda Particle 2 Granular Delay
    02:57 - Moogerfooger Plug-ins / UAFX Amp Emulator Pedals
    04:12 - IK Multimedia Amplitube TONEX Amp Simulation Software
    04:47 - Arturia Efx Fragments Granular Delay / Eventide Physion II
    05:25 - PMC6-2 Monitors
    07:00 - MiMU Jellyfish Granular Synth
    07:45 - The Great Chip Shortage
    09:11 - Rob Papen eXplorer-8 Bundle / Sub51 and Soundtrax Drop Pad

    10:26 - Sonnect Audio Sound Bullet
    11:46 - Eventide H90 Harmonizer® Multi-FX Pedal / Two notes ReVolt Amp Simulator Pedal
    13:38 - Waves BB Tubes Plug-in
    14:27 - Hardware Recorders
    17:05 - Synth Sounds For Guitar

    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 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!

    Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts