A short thread discussing some approaches to “over the shoulder” mic techniques:

What is happening when you put a mic ‘over the shoulder’ is that the mic is hearing pretty much what the ear is hearing… except that the ear is able to distinguish between reflections as distinct events and a microphone does not have that capability.

… and some insight into phasing issues with overhead drum mics:

What will be immediately noticeable (in terms of phase issues) is the snare sound. If you are using a spaced pair (two mics seperated by a significant distance) one way to solve that is make sure both overheads are exactly the same distance from the center of the snare.

But make sure you understand what causes phase problems – it is what happens when the sound from a single source is picked up by two or more mics that are different distances from the source.

Tags: drums, miking

What happens to your recording when it’s played on the radio? Add this to the list of reasons to avoid crushing the dynamics out of your mixes:

Hypercompressed material does not sound louder on the air. It sounds more distorted, making the radio sound broken in extreme cases. It sounds small, busy, and flat. It does not feel good to the listener when turned up, so he or she hears it as background music. Hypercompression, when combined with �major-market� levels of broadcast processing, sucks the drama and life from music. In more extreme cases, it sounds overtly distorted and is likely to cause tune-outs by adults, particularly women.

Tags: mastering, radio

Mixing, from a producer’s perspective – On the Humbucker Music web site.
As the article states, many of the mixing tutorials on the web are engineer-centric, focused on tips an engineer can use to create the perfect mix. But more often than not, a great mix starts before the first track has been recorded.

If the producer knows how every step of the preparation and recording process is going to contribute to the final mix, then the mixing stage should be straightforward and successful. This means, among other things, getting the arrangement right and selecting the right sounds, making sure the musicians are playing in time and in tune, obtaining a good performance from the singer by whatever means necessary.

Previously: The Big Page of Mix Tutorials

Tags: mix-tutorials, mixing, production

The Home Recording Pool on photo-sharing site Flickr has great shots of home recording setups all over the Internet.

Tags: pictures, studios

Some of the mastering engineers on homerecording.com discuss their approaches to mastering:

One reason to use EQ post compression is so that you don’t have to keep re-adjusting the threshold of the compressor when making EQ changes.

This insightful thread on ProSound addresses the consequences of mixing and mastering in the same room:

Bob Ludwig always used to warn people not to listen back to mastered material in the mixing environment, because any room anomolies (which already would have affected your mixes in the first instance) would be now doubly magnified by the “re-playing” through the same system.
…
This advice would apply in spades to a non-professionally treated room.

Finally, though it ends well, this tale from homerecording.com illustrates why we should be wary of budget mastering offers in the Internet:

I definitely feel robbed. Great!

I suppose use me as a reminder to enquire first and to avoid this online mastering company. I most certainly fell for it. A $60 lesson.

Tags: mastering

After reading the importance of checking a reference while mixing, an obvious question is: “What are some decent reference mixes?”

John Vestman answers the question with his list of commercial reference CDs.

Bob Katz also provides a CD Honor Roll

Previously: The importance of checking a reference while mixing

Tags: mixing, reference-cd

You generally shouldn’t record vocals without a pop filter (also called a “pop screen,” “pop shield,” or “popstopper.”) The bassy pops that result from plosive sounds are difficult to remove once a track has been recorded. But unlike most studio gear, you don’t have to spend lots of money for a professional quality pop filter. You can even make your own, and it’ll work just as well as the mesh screens you see in pro studios.

Here’s the definitive collection of DIY pop filter instructions:

Using a needlepoint frame or embroidery hoop

• From Dean Sabtino’s nextplease blog
• From KaiAudio
• From Jake Ludington’s MediaBlab
• From Homerecording Connection
• Involving a coat hanger while you’re at it

Using a coffee can lid

• From instructables.com

Using nylons and a coat hanger

• A simple design on flickr

Using a sock and gaffer tape

• From radsy.com

And since you never know when you’ll have to contend with the wind:
Using fake fur

• DIY Mic Zeppelin Windscreen on the Cheap

Tags: diy, popfilter, vocals

Ronan Chris Murphy thinks home studios are killing music:

… I have seen home studios wreck a lot of people’s careers. For the most part, if you are a performing songwriter that puts a fancy studio in your home, if that does not stop your career dead in its tracks you are the exception and not the rule.

Obviously, I don’t agree with his premise, but he has a great point about putting your energy into performance and promotion, rather than satisfying perpetual gear acquisition syndrome.

Tags: business

On homerecording.com, some tips for getting the kick drum to stand out in a mix.

Make sure your bass and kik drum center on two different notes on the bottom. Often I’ll like my kik to center at around 80Hz and the bass at either 60ish or 100-125ish.

See also this related thread with some tips on clearly separating the kick drum and bass guitar.

Try running youe[sic] Bass guitar through a compressor, with the Kick Drum inserted in the Side-Chain. The Kick drum can than duck the bass signal win[sic] it is applied.

Tags: drums, kickdrum, mixing

Basic Mixing Method – from the Department of Music at Columbia University.
This page outlines a straightforward approach to mixing rock tracks: Start with the drums and bass as a foundation, and build on that.

Once the fundamental groove is established the vocals or lead instrument should be added. We work with these two elements first simply because these are the most important parts of the mix. The groove will get people listening and the vocal is what they�ll hum along to and remember later.

The simple steps outlined in the article provide a cookie-cutter approach to mixing a song, and while the approach isn’t appropriate for all styles and tastes, it’s a great way to get started if you’re a beginner. (The article also mentions one of my favorite mix-check techniques: “step back from the speakers and listen to the mix from the doorway.” Great advice.)

Previously: The Big Page of Mix Tutorials

Tags: mix-tutorials, mixing