Live sound mixing varies greatly from
studio mixing. The fast paced adrenaline rush of the concert venue
versus the calmer and quieter work area of the recording studio.
Studio mixers can take their time while the live sound tech has to
think quickly and react in real time so the difference can be
significant, even though some might say they are doing the exact same
thing. Besides this, there is also a difference in their
workstations. Mixing desks in a live situation can be very different
than the one used in a big recording studio. Let’s go through some of
the main differences between both the mixing desks and their
respective users.

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Although there isn’t as much use for CD’s in the production process as there used to be, many of us still like to have our finished album or mix on a professionally presented disc.

For all you Mac users, this tutorial will show you how to use Apple’s Waveburner to get that finished project on to a CD with individual track markers and a professional polished sound. If you are a Windows user and would like to see the equivalent in an application like Wavelab please let me know in the comments section.

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Let’s say you’ve just finished a day of tracking and you have a whole bunch of takes for one vocal part thanks to Logic’s comping feature. But at the last minute it’s decided that two lines should be switched around for creative reasons, or a certain word should be sung closer to the beat. It would be a waste of time and money to go back to the tracking phase, but it’s going to be hard to choose the best comp without being able to preview the changes. How do you edit them all at once so you can judge each take? Logic Pro 9 allows you to do so.

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In this video tutorial Johnathan Lewis gives us a basic demonstration of audio/video mixing on the Pioneer SVM-1000 mixer.

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In this video tutorial Johnathan Lewis shows us what the Pioneer SVM-1000 mixer can do and how it works.

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Automation is an important tool for creating polished mixes. You can use it to fix problems, introduce and enhance effects, and to vary the mix levels throughout different sections of a song. If you haven’t learned to use automation in Pro Tools 8, you’re missing out on a lot of functionality.

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Propellerhead’s new killer app Record has finally landed. Its an affordable all-in-one recording and production solution and after spending some time with both the beta and final release, I can safely say its about the most CPU efficient DAW I have ever used.

I thought it might be useful for some of you who are using Record, or thinking about purchasing it, to see a run through of some of its key sections. This tutorial will simply walk through the different modules of the monster channel strip in Record’s main mixer.

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You’re in a darkened concert hall, your favorite band rocking out on stage. You get chills running down your spine as the singer hits that high note and the crowd begins to cheer. You are close enough to the stage to realize that the band-members are enjoying themselves immensely on stage, smiling to each other, locking into a groove that’s so tight it sounds like it could have been taken off their studio record.

You look to the side of the stage, following the guitarists line of sight and spot a guy off the side of the stage, barely noticeable. The guitarist gives him a signal, nods his head in satisfaction and rips into his outro-solo. Who is that guy? That guy is the monitor mixer.

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It seems that the more elements your drum mix is comprised of, the harder it is to give them impact. With mics on the majority of drums, plus overheads, room mics and even the occasional hallway mic, there are so many different sounds competing with each other, even though together they comprise one instrument. Parallel compression is a really easy way to give some impact to the most important elements of the kit.

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In some of my recent tutorials I have been breaking down the processors used in a typical mastering chain into individual subjects. So far we have looked at buss compression, M/S processing and stereo enhancement. In this tutorial we are going to look at multi-band compression.

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