Waves Workshop with Eddie Kramer at Sweetwater - Part 1. HOW TO MIC' GUITAR AMPS IN THE STUDIO | AudioTechnology Magazine. Mark Opitz’s guitar amplifier microphone technique. Having worked with bands like INXS, AC/DC, Cold Chisel and the Divinyls, Mark Opitz, suffice it to say, knows a thing or two about recording guitar amps. AudioTechnology caught up with Mark at Studios 301 in Sydney where he revealed one of his prized techniques for capturing the amplified guitar sounds. Rather than be secretive about the way he works, keeping the best tricks up his sleeve, Mark is happy to share his engineering experience.
What follows cuts straight to the heart of good guitar amp recording technique, and is based on a day-long discussion with Mark at Studios 301 in Sydney, which was kind enough to allow us the use of the recording space for the day. Miking Guitar Amps Mark Opitz: Okay. I should start by saying that this technique in principle works regardless of the amp in question, whether it is small or large, loud or quiet, a Marshall or Fender. Mark Opitz: Always. Mark Opitz: [laughs] No, no. DIY Studio Acoustics Tutorial. Creating that pro studio acoustic experience at home is easier than you might think. Russ Hepworth-Sawyer offers some affordable DIY solutions to bring professional studio acoustics and aesthetics to your home setup… We’ve witnessed significant advances in music technology over the past 15 years or so which, combined with ever lowering costs, now mean that many more of us can – and indeed choose to – record at home.
However, there are changes that you will need to make to your home environment in order to get the best sonic results. Fortunately it’s not as difficult – nor as costly – as you might think. Over the course of the following tutorial we’re going to detail some of the problems you might encounter and, of course, the solutions for a perfect mixing and monitoring environment.
The most immediate aspect – aside from annoying the neighbours (which is not covered here) – will undoubtedly be the acoustic performance of your listening environment. On Reflection Standing Still Absorbers. Waves Mastering Lesson 8 - L1 Ultramaximizer Tool. Studio One Tutorial - Sidechain Compression. AIRA — it's coming soon. Mixtape Alpha. How To Use Hi-Pass & Low-Pass Filters To Improve Your Bass. MiniSpillage. Acoustical Room Advice - GIK Acoustics. Acoustic Treatment For Home Studios. Smashed Up - a Parallel Compression Tutorial • Resoundsound. OWL Programmable Effects Pedal by Martin Klang. With some coding and DSP knowledge, the OWL can become any kind of audio effect that you can imagine. Effects can be combined in any number of ways by chaining or switching between them. Using a provided C++ framework, effects can be developed, compiled and loaded to the on-board ARM Cortex M4 chip with no proprietary tools or hardware-specific knowledge.
The OWL gives coders the chance to implement their own effects and become part of an open-source audio developer community. For those who don’t write code there is a growing collection of patches available for immediate download and use in the patch library. With a strong emphasis on open-source hardware and software, the OWL is perfect starting point for anyone wanting to experiment with embedded audio, or for those wanting to to learn more about audio programming and Digital Signal Processing in general. For musicians: For developers: Patch class Implement this class to create your own Patch. Example Patch + £16,000 USB MIDI - funded. Glitchmachines.com - Forward Thinking Sound Design. Synthesizer and electronic music news, synth and music software reviews and more!
OWL Programmable Effects Pedal Is Open Source + Open Hardware. The OWL is an open source, open hardware, reprogrammable effects pedal designed for musicians, coders, and hackers. With some coding and DSP knowledge, the OWL can become any kind of audio effect that you can imagine. Effects can be combined in any number of ways by chaining or switching between them.
Key Features: For musicians: Load patches from your computer via USBCollection of sample patches available and growingStandard guitar pedal inputs/outputsFor developers: Write code for a hardware DSP architecture in plain C/C++no hardware specific coding requiredOpen source platform and tool chainAccess to all low level ARM functions Here’s the project intro video: Using a provided C++ framework, effects can be developed, compiled and loaded to the on-board ARM Cortex M4 chip with no proprietary tools or hardware-specific knowledge. The OWL gives coders the chance to implement their own effects and become part of an open-source audio developer community. Mixing in Stereo: Adding Width and Depth to Your Recordings. When it comes to discussing the fine art of mixing music, I tend to approach the subject with some trepidation. After all, compared to many of the topics I’ve written about, this one is rife with subjectivity — one person’s idea of a great sounding mix may be another’s sonic nightmare.
And what works for one genre of music will be decidedly wrong for another. But all those variables aside, there are at least a few general theories, tips, and tricks that apply to most mix projects. So while the idea here is not to give a step-by-step tutorial on two-track mixing, hopefully we can cover at least a few concepts that are useful for everyone. In a good stereo mix, each instrument needs clarity, balance, separation, and its own space in the stereo field. The Concept At its most basic, mixing in stereo means mixing for the human brain and physiology. But in the real world, much of the process of creating a stereo mix is far from organic or natural. What Makes a Good Mix? It Starts at the Source.