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by Nicholas Messitte · Posted 06/25/2018
Ever had this problem? You record a demo in your DAW, plugging your acoustic guitar straight into your interface—no mic, just a DI. Then, when it comes to the actual mix, you think: can’t I somehow just use that acoustic DI track, so I don’t have to mic up my acoustic? As probably the laziest person at the B&H office, I can assure you it’s happened to me.
Though sometimes the problem is not even due to laziness: maybe you played gold in that one passage, and you can’t recreate it. Whatever the reason, you’re stuck with DI, and no idea how
by Phillip Nichol… · Posted 06/18/2018
Some microphones look the same, some look wildly different. Reading each manufacturer’s product description leaves you with the impression that every mic is the best for everything. Microphones in the sub-$100 range are often described the same way as mics in the territory of several thousand dollars. So, how do you determine what sets them apart? You can get your first clue in those ultra-boring and seemingly pointless specifications. I know it would be much more fun to just try all the mics, but that’s not possible, is it? As you dive into
by Nicholas Messitte · Posted 06/18/2018
So, you want to get into mastering, and you’ve found yourself here. Welcome. Soon we will cover topics like compression and limiting—mayhaps, monitoring and room treatment to boot—but first, we’re going to give you a few insights into a process with tons of tonal impact on the final master. I speak, of course, of equalization.
The General Approach
It is often said that EQ adjustments in the realm of mastering are usually subtle. If you watch a tutorial or stand over the shoulder of a mastering engineer, you’ll frequently notice minute changes
by Phillip Nichol… · Posted 06/14/2018
You could spend the better part of your days comparing speakers in search of the “best.” Even within a single manufacturer’s product line, there are subtle and obvious variations between speakers. Some of those variances are visible while others are guarded in the secret scrolls of specifications. With prices ranging from hundreds to many thousands of dollars, all those differences must matter, right? Yes! As you might suspect, some details matter more than others. Understanding how a speaker’s specs affect its performance is crucial to
72 Views· Posted 05/15/2018
Our experts, “AB” Belinfanti and Andrew Eisele, from B&H, discuss the basics of modular synths, their origins, components, and how you can integrate them into your workflow. Eisele also gives a short performance to showcase some of the sounds that can be generated by these synthesizers. We hope you enjoy the video, and invite you to view the wide selection of other instructional and informative videos at
by Andrew Eisele · Posted 05/15/2018
Over the years, certain manufacturers have started to use the terms polarity and phase interchangeably. Although there are some similarities, there is a difference between them, and understanding that difference can help you make the most of any session, whether in a live sound situation, or in the studio recording, mixing, or mastering.
Polarity
Any electrical signal has polarity, and it is a reference to the signal’s position or voltage above or below the median line. A device that inverts the polarity of a signal will simply swap positive
by Andrew Eisele · Posted 04/23/2018
Are you looking to beef up your understanding of FM synthesis? Are you at a complete loss when sitting down to program an FM synthesizer? In this article, we’ll dive into the power of FM synthesis and demystify the complexity of this breakthrough technology.
History
The earliest record of Frequency Modulation synthesis can be traced back to the mid-1960s, when Don Buchla implemented the technology in his analog modular setups. Analog FM is a powerful sound-design tool, but it was difficult to keep it stable, especially when playing up and down
by jaime traba · Posted 03/26/2018
The frequencies they are a-changing. If you followed the unfolding drama of the FCC Incentive Auction, in 2016 and 2017, this comes as no surprise to you. If "FCC Auction" doesn't hold special meaning to you yet, you need to prepare for some important news. Anyone currently using wireless systems that operate in the 600 MHz band should pay close attention to avoid breaking laws and proper functionality. It's quite possible, and even likely, that you'll have to trade in your current system. Many wireless mic systems operating in the 600 MHz
by Phillip Nichol… · Posted 03/21/2018
It seems that every day in most cities around the nation, there are concerts, theatrical productions, and songs performed at houses of worship. People often want to relive the experience and make it available to others who couldn’t be present for the original event. Multitrack recording unlocks the greatest potential for high-quality capture and reproduction of the audio from the live event. In live productions, all used channels get recorded simultaneously. So, track counts can easily fall into the 20 to 70 range. Companies such as Midas, QSC
by Phillip Nichol… · Posted 03/20/2018
Part 1 of Little Things That Make the Song Big laid out some important considerations about song structure, section lengths, choice of instrumentation, and how they change the impact of songs. In Part 2, the focus will be on instrument- and pitch-specific alterations, tempo, groove, and mixing tips. Moving forward, always remind yourself that these elements form a somewhat fragile musical ecosystem. Though identifiable as
by Phillip Nichol… · Posted 03/20/2018
Every songwriter, producer, musician, and composer wants their music to be effective, though the intended effect of a composition will naturally vary from song to song, genre to genre, and creator to creator. Some songwriters seek to communicate the complex emotion of an intense life experience, while others just want to get people moving and shaking on the dance floor. One musician may quest to stun the listener with masterful precision, while another pursues the loose and raw feel of a jam session. Whatever the goal, the ultimate impact of a
by Phillip Nichol… · Posted 02/20/2018
No one writes music like you do. No one pens lyrics like you do. No one makes mixes like you do. Those “truths” are self-evident to many, dominating their creative decision-making processes. Perhaps you’re one of those individuals, confident and convinced that your way is THE way. Maybe you’ve established your sound, methods, and routines and see no benefit in changing them. Well, sit down, because we need to talk.
Often the worst sessions are the ones dominated by know-it-all, gimme-the-ball, I’m-gonna-take-the-shot stars. Producers who won’t
by BH Online Videos · Posted 01/05/2018
In the following video, Rob Rives builds upon the basics covered in the first “How to DJ” video by demonstrating how to cue tracks, tempo, and beat match. This video explores the functions, controls and modes of the CDJ player and turntable, while explaining the process of blending two tracks together for a seamless transition. Rives shows us how to utilize the onboard sync function, as well as work with manually adjusting tempos
407 Views· Posted 01/05/2018
In this second part of our tutorial on the basics of DJing, we explore the basics of tempo matching and mixing.
by Steven Gladstone · Posted 01/02/2018
Although I must admit to a fondness for MOS sequences, when shooting dialog, I prefer to get clean sound on set. But this isn’t always easy, and sometimes it’s not possible at all. Fixing audio problems in post is never satisfying, and I start to dream of just doing all the dialog in post. In many ways, this makes sense, as on-set time is incredibly expensive, and never having to do an additional take for sound will save loads of time, and time is money. Plus, I’m only dubbing the finished film, and not all the unused takes, so that seems