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Taking more than a little inspiration from the 1970s bestseller Zen & The Art of Motorcycle Maintenance, this might be the best all-around volume written on audio engineering we’ve seen yet. Mixerman’s gift is his ability to meld his personal experience in recording and mixing with useful practical advice and thought-provoking philosophical musings. He moves easily from the big picture to the small details (and then back again) meaning that this book is just as useful for a relatively experienced reader as it is for a beginner. It’s really got something for everyone.

In order to set up yourself for success, keep your cords, microphones, headphones, and instrument equipment organized in specific, consistent spots so you always know where they are when you need them. And then, after you’re done with them, always return these items to their respective spots. Put guitars in cases or hang them on the wall, coil cables when they’re not in use, and build shelves to store stuff that gets used less frequently. Big plastic storage bins are also a great option for extra cables and assorted items.

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In 2006, Congress lowered the tax rate for songwriters who sell a part of their catalogs. It did this by reclassifying income from the sale of a catalog as “capital gains” instead of “ordinary income.”

Logic makes it really easy to set your tempo and time signature. If you look in the top toolbar, you will see a black box with a list including Key, Tempo, and Time Signature.

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In several interviews, Sandison and Eoin reveal how they love using old reel-to-reel, four-track, and cassette tape machines as pseudo-preamps to impart a certain sound. The aim was to drive the inputs on this old tech and harness its audio downsampling, imprinting a sense of nostalgia and decay right into the tracking process of the recording.

Anybody can buy a $50 microphone and start recording, and in fact, with increasingly popular companies like Anchor, you don’t even need the damn microphone! This offers amateur users great accessibility and a lot of interesting and niche content; as a result, you might be wondering, “how can I stand out from the crowd?” I’m here to answer that question and take you from a bedroom podcaster to a studio quality podcast pro.

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This album also did two things beyond Brown himself. First, it would help cement soul and funk as commercially viable mainstream music genres. Soul could be fun, loud, raucous and youthful; not just sentimental and romantic. Secondly, it demonstrated the power of a live album to make money, and assured record producers and labels alike that consumers would be willing to buy the same songs on two different albums if one was live.

In this edition of “Talking Points,” composers and electronic artists Ryuichi Sakamoto and Alva Noto discuss the nature of collaboration and improvisation.

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The reverse crash cymbal technique is one of the most common impact accentuators. Some producers prefer imitating this sound with automated white noise samples fading in, or a reversed tambourine sample instead of a reversed crash cymbal. Either way, that whooshing sound leading up to the chorus can be so easily overlooked, but it’s one of those sound effects you’d miss if it wasn’t there.

Patrick McGuire is a writer, musician and human man. He lives nowhere in particular, creates music under the name Straight White Teeth, and has a great affinity for dogs and putting his hands in his pockets.

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Anne-Marie’s recent single “2002” paints a picture of the days when we were young by referencing pop songs from when she was 11. And if you’re about 27, you might listen to “2002” and feel that the song takes you back to the days when you were singing at the top of your lungs with your childhood friends as well.

All of our mentored online courses come with six weeks of one-on-one professional coaching and feedback on your work. It’s like having a personal trainer, but for music! Whether you’re interested in dive deep into a topic covered by one of our courses, like Songwriting for Producers, The Art of Hip-Hop Production, or The Creative Power of Advanced Harmony, or just in working with a Mentor directly to achieve a specific goal, we can help you get started!

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This more complex view of phase interaction is more applicable to the real-world scenarios we encounter as musicians and producers. You might be struggling to record a drum kit with multiple mics and losing that precious oomph in the process. Your studio monitors could start sounding a bit odd, because each side is interfering destructively with the other while their sound travels through the air. You may find that a certain parallel processing hack or sample replacement makes your sound thinner rather than awesome-er.

While you certainly want to stay true to your own artistic style and write songs that are not a carbon copy of the next big thing in your genre, you also don’t want to misread your audience. For example, fans of John Mayer may have latched onto your recent acoustic singer/songwriter-esque release, but they may jump ship when they hear the synth heavy alt-rock that you’ve been crafting.

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It aims to develop the culture of podcasting in its home province, producing high-quality content and inspiring others to do the same. The goal is offering local listeners a wider breadth of available, relevant audio programming, and pushing the boundaries of what’s possible.

He alleged that Porter had used Arnstein’s “The Lord Is My Shepherd” as the basis for his “Begin the Beguine” (premiered in the Broadway musical Jubilee), as well as “A Modern Messiah” for his “Don’t Fence Me In” (originally written for Adios, Argentina), and “A Mother’s Prayer” for his popular song, “My Heart Belongs to Daddy” (premiered in Leave It to Me!).

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Editing is the final, critical element that if done well, will make your podcast shine. Even if you have a stripped-back podcast with one simple interview or monologue, editing it properly will improve the flow and pace of the episode. When I edit a podcast, I like interviews to sound real, so I tend to keep breaths and some natural vocal blemishes. I do take out an incredible amount of awkward pauses, umm’s, ah’s, and repeated phrases. Conversational language is not always great. Even the most well-spoken people repeat themselves and say things in a conversation that doesn’t always make sense.

Mix buss compression is a great way to add a little bit of excitement and glue to your mix. Some people like to slap it on the master buss after they have mixed it (Ryan West for example, whose credits include Jay-Z, Eminem, Kid Cudi, Maroon 5, T.I., Rihanna, and Kanye West). And some engineers like to slap a little bit of compression on in the beginning and mix through it. I don’t think there is a right or wrong way when it comes to when to put it on.