Classics

Over the Limit

by Rip Rowan

The seminal article blasting the modern mastering industry for singlehandly destroying a generation of great music.

Greed and Power:

the Spirit of Radio?
by Bill Park

A scathing indictment of the megalithic entertainment conglomerate Clear Channel and its devastating effect on music and the people who make it.

Point-to-Point III:

Debra Soule
by Rip Rowan

Building a mix from the ground up with Debra Soule's "Everlasting".

Radio, Radio

by Bill Park

A comprehensive explanation of the wholesale changes in the radio industry stemming from the 1996 Telecom Act.

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Recent Articles

I've Got The Trash, You've Got The Cash

Bill Park
So, waddaya wanna talk about?

Procrastination is my enemy. By screwing around, I have been scooped by other writers, beaten by changes in technology, or have just run out of enthusiasm for certain topics.

I was going to write about the big deal issue that was a major concern to the professionals.
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Winter NAMM 2001 - an Odd-Essey

Joel Braverman

Every time I go to Los Angeles, I worry about my soul. It might just be a fear that I might actually start liking LA, and then I might want to live there. Or perhaps the danger is real...

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Starting a Client Relationship

Tatiana Nu
Over the years that my husband and I have worked together in show business (my writing and performing music, he creating and performing magic) I have learned what I have found to be some potent principles of business dealings.
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Drum Miking Techniques pt. 2

Barry Rudolph

The Overheads

The best place to start a drum sound is with the overhead microphones. These mics will tell you just how well the drums actually sound. You'll hear how they are tuned and how good a drummer you have and how the room is adding or subtracting to the sound.
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Drum Miking Techniques pt. 3

Barry Rudolph

Bass Drum

The kick or bass drum is easy to record since it is usually played (in pop music) at the same volume throughout the song. Producers and engineers look for a "marriage" of the bass drum with the bass instrument because they both occupy and make up the important bottom end of the record.
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Drum Miking Techniques pt. 4

Barry Rudolph

Snare Drum

I experiment often when recording snare drums. If you want to EQ the snare drum mic, use a very clean equalizer that can handle very high peak levels without distorting. Since a lot of the snare drum is heard in the overhead mics, I take the time to make sure the drummer is using the right snare drum for the song.
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Drum Miking Techniques pt. 5

Barry Rudolph

Tom-Toms

The floor and rack toms are miked from the top only. I have miked the top and bottom of toms and I don't think it is worth it except for some strange and very tonal sounds. There is a point at which too many microphones around the kit will cause a loss rather than a gain.
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dbx 576 Silver Series Mic Preamp / Compressor

Rip Rowan
If there's been one trend in music gear in the last couple of years, it's been cheap mics and prosumer tube preamps. They're everywhere. The explosion in home recording has instantly created a market for these devices, and companies have rushed to market with all kinds of products to help you keep your wallet empty.

Make no mistake about it.
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Yamaha MSP10 Monitor System

Garry Simmons
Yamaha has long been associated with studio monitors. Love ‘em or hate ‘em, the ubiquitous Yamaha NS10s grace the meter bridge of many a studio, great and small. With the introduction of the all-new MSP10 powered monitor and the SW10 powered subwoofer, Yamaha staking a claim in the ever-popular (and increasingly crowded) powered near-field market.
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The Ultimate Orchestral Percussion Sample Library

Bruce Richardson
DS Soundware has only one product so far, and with a title like The Ultimate Orchestral Percussion Sample Library, they're certainly inviting a bit of scrutiny.
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Cuttin' Guitar

Rip Rowan
More than any other song on this project, "Everything's a Lie" makes use of layered guitars and oddball noises. Most of the other songs on the CD, by comparison, are straightforward two-guitars-bass-and-drums arrangements.

The drums on this track were cut live, then cut into loops and reassembled into the final arrangement.
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Norman Nardini, pt. 3

Bill Park

Drowning in the River...

BP: Like you said, everything was hitting. Through the various people that the bunch of you knew, you had the ear of the majors, and a lot of stuff from our area was begining to take off.
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