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I’m amazed when I compare Glyn Johns’s early mixes of Let It Be with Phil Spector’s final release. The music and performances are the same, but the mixes couldn’t sound more different. Shouldn’t these men, both professionals practicing a time-honoured craft, have created similar mixes with the same material? Of course, no two listeners hear […]

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Some instruments, guitars especially, sound great when double-tracked and separated in the stereo image. Hard-panned electric guitars are a standard in modern rock mixes, and engineers have used the technique on acoustic guitars too for decades. Double-tracking is straightforward: Record a part twice, both takes as similar as possible, and pan one take hard left […]

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From the Muse’s Muse: “Singing and playing a great song is almost as good as getting a lesson from the person who wrote it.” With recording and mixing, lessons from experts come even easier when the engineers and producers volunteer to share their knowledge. Michael Tretow, the engineer for all of Abba’s studio albums, offers […]

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Practical Mixing – from sound On Sound magazine. This article focuses on tracking and mixing via console (with an aside to address the importance of checking a reference CD while mixing.) But Sound On Sound caters to the masses, so the information in this article is broad and still generally useful. It is important to […]

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Ryan Hewitt contributed to the tracking and mixing of the Red Hot Chili Peppers album Stadium Arcadium, and is happy to share his engineering experiences: In an interview with EQ Magazine: “What makes mixing this band so hard is that you have three musicians who are all laying down serious stuff, and the balance between […]

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Bruce Bartlett’s article on stereo microphone techniques describes 4 methods of capturing a sound source in stereo. The article focuses on recording ensembles, but the techniques he details can be used anywhere a stereo recording is desired. One goal is accurate localization. That is, the reproduced instruments should appear in the same relative locations as […]

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Some details on the recording of Ryan Adams’ album Rock And Roll. Candiloro used Neumann U47s on all vocals … For guitars, Candiloro always settles on two Shure SM57s, positioned on the amp right where the cone and paper meet. For bass, the L.A.-based engineer miked an Ampeg B15 cabinet with a Sennheiser 421. Drums […]

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Terry Manning (yes, that Terry Manning,) posted a great breakdown of his vocal tracking and mixing technique on ProSoundWeb: I like to build a special area for the singer, moving tall baffles into a “squared-off U shape” behind and to the sides of the singing area, not only for the purpose of controlling unwanted reflections, […]

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