Microphone bleed in recording is often treated as a problem before anyone asks what it may be contributing to the music. Engineers are often taught to treat microphone bleed as a problem. Keep the drums out of the piano microphones. Keep the guitar amplifier out of the drum microphones. Keep the bass out of everything. […]
The Bleed You Are Trying to Eliminate May Be the Sound Your Record Needs Read More »
The musician sounded confident before the headphones went on. The singer delivered the lyric naturally during rehearsal. The drummer played with balance and feel. The bass player sat comfortably in the pocket. The musicians could hear one another, respond to one another, and understand how their parts worked together. Then the headphones went on. The
Your Headphone Mix May Be Damaging the Performance Before You Record It Read More »
To understand how to record a rhythm section, begin with the relationship between the musicians, not the number of microphones in the room. A rhythm section can be clean, separated, and technically correct while still sounding like several musicians occupying the same song instead of one record. The drummer may sound good. The bass may
How to Record a Rhythm Section That Sounds Like One Record Read More »
Recording problems before mixing often begin during preparation or the session itself. Learn how microphone placement, headphone mixes, arrangement, signal flow, and communication shape the performance before the music ever reaches the mix.
Why Most Recordings Become a Repair Job Before the Mix Begins Read More »
Former Motown Hitsville Staff Engineer & Norman Connors Recording Engineer Some engineers chase trends. Others are shaped inside institutions where excellence was not optional. Ralph Sutton Norman Connors, recording engineer and former Motown Hitsville staff engineer, began his professional recording career as a staff engineer at Motown Hitsville Los Angeles (MoWest), serving from November 1981