This post will help you with the task of shopping recording studios and avoiding the “studio car wash” syndrome where artists get the same artistic whitewash. Read More.
One way to control the amplitude of a signal is by running it through a compressor, which turns down the volume each time the signal gets louder than a preset threshold. Understanding the functions of compression and panning are part of music production basics and will help you in the recording and mixing phases of your project. Read more.
Controlling volume is one of the most important elements in audio production. Understanding amplitude, volume, normalization, and automation are all part of music production basics and will help you in the recording and mixing phases of your project. Read more.
Sometimes “useful” is better than “precise,” though it is helpful to know what the differences are between technical terms in the recording studio. Even if you do misuse terms like loudness, volume, and gain on a regular basis. I work in the audio world and I still had to look up the exact definition of “gain.” Read more.
You’ve got the songs. You’ve logged the miles, played the gigs, and built your following. Now it’s time to record. But how do you choose the right recording studio? Good question! You want to choose wisely as this is for posterity, after all, and choosing the right recording studio is both a right- and left-brain activity. Read more.
Butch Vig is synonymous with the sound and legacy of alternative rock. His work with Nirvana, Sonic Youth, and Smashing Pumpkins rewrote the rulebook for guitar-centric rock production. Vig sat down with iZotope to talk about his creative process, production philosophy, and his affection for iZotope’s Trash plug-in. Read more.
Recording your own music can be an amazing and challenging experience. Case in point, your band’s newest tune is begging for a raucous fiddle solo or a cool cello line, and none of you have worked with either sort of instrumentalist before. How do you find the right player? Read more.
The moment I was first introduced to computer-based recording, I saw the potential for recording millions of takes. At first it made sense to me to just record as much as you can and then pick the best takes later. But over the years I have come to realize how much of a hindrance this philosophy was, rather than a help. I believe that having unlimited takes and hard drive space has made us lazy. We’ve lost that sense of urgency to try to perform our best in the studio and capture a great recording in a few takes. Read more.
This post was updated March 2017. Ready to learn how to record your music in your own home studio? Looking for advice on recording and music equipment, acoustics and mixing? We’ve got a ton of guides, blog posts, and articles we’ve published over the past few years, and we’ve collected most of them here for you. Read more.
Trevor Horn is rather unique among his peers in that he enjoyed a highly successful career as a musician before moving to the other side of the glass. As half of the eighties pop duo the Buggles (he was the one with the nerdy glasses), he co-wrote, co-produced, and sang lead on their smash hit “Video Killed the Radio Star,” perhaps best known today as the first video ever played on MTV. He and co-Buggle Geoff Downes were then briefly integrated into prog-rock kings Yes (an experience he later described as “awful”) before he made the decision to end his touring days and focus full-time on record production. Read more…
As the producer of classics from Frank Zappa, The White Stripes, and Kurt Elling – Joe Chiccarelli draws inspiration from a variety of sources in the studio. It’s hard to believe that the same individual who produced the rough-and-ready White Stripes’ Icky Thump was also responsible for the ephemeral, moody ambience of The Shins’ Wincing the Night Away or the slick jazz of Kurt Elling’s Night Moves. Read more.
Whether you’re entering the studio for the first or fiftieth time, embarking on a full-length album or a soundtrack one-off, successful recordings start with some form of pre-production, a process that allows the artists and production team to define things like which songs will be recorded, the key of each song, and their tempos. Read more.
When I listen to my records from the ’70s and ’80s and compare them with newer recordings, I can hear a difference, but it’s not just the tape – it’s where we have traveled in our minds and where our expectations have taken us. It’s a slow creep, and year by year a little bit of the old way of doing things just disappears. It’s an erosion rather than a change of technique. So I don’t really miss the sound of tape, but I miss some of the philosophies that we operated by back in the day. Read more.