Commentary

One of the main aspects of profitable production is ensuring that you are knowledgeable in the area of which reverb plug-ins to choose in accordance to what you are trying to achieve. A good example is how the convolution reverb is best for acoustic tracks. This is because it helps tune in on fine details that otherwise may have been missed with alternative reverb options. If you’re looking for an option that reflects classic models, try investing in an emulation reverb.

Key Takeaways:

• Algorithmic reverb, which is traditional digital reverb, is available in its most classic format, for users that make use of the Waves’ Renaissance Reverb plugin.
• For a more modern take on algorithmic reverb plugin users can try FabFilter’s Pro-R reverb plugin.
• Other options also include Softube’s TSAR-1 reverb plugin and Logic’s ChromaVerb’s reverb plugin.

“Reverb is an effect that’s used so often that sometimes people tend to take it for granted, but there are many different reverb options out there for those who are a bit more discerning about the space they place their mixes in.”

Read more: https://ask.audio/articles/reverb-plugins-every-producer-should-know

Key Takeaways:

• While a condenser mic may be a more robust choice, it’s a mistake to say that a ribbon mic is too fragile to record loud sources.
• Going ‘hot’ with your recording may have been the norm with analogue recording methods, but today’s technology makes it unnecessary.
• No matter where you have heard it, egg cartons and mattress foam do not make good DIY sound-proofing.

“Back in the old days, if you wanted to learn how to record, your options were to learn from a pro, a school, or by trial and error. But thanks to the Internet, there’s a ton of information out there on how to record.”

Read more: https://www.sweetwater.com/insync/6-recording-myths-busted/

It is common even for experts in the music industry to get confused as to what the different between gain and volume is during the production process. Volume specifically illustrates how loud a track is, and this directly surrounds the output within the production piece. Gain, however, has to do with the input in which how loud the sound was before any processing had been done to the track. Knowing these two differences is imperative in understanding the ins and outs of production.

Key Takeaways:

• Volume generally refers to the decibel level of a recording, or the specific loudness of a recording after processing.
• Although ‘gain’ is often substituted for volume interchangeably, it actually refers to pre-processing loudness, or decibel input.
• Gain, or how loud something is before processing, is important to the tone of a recording in a way that the post-processing loudness, or volume, is not.

“Knowing the difference between gain and volume could change the tone of your instruments forever.”

Read more: https://www.musicianonamission.com/gain-vs-volume/

Magix Sound Forge is a venerable family of multitrack wave recording and wave editing software with a wide variety of audio engineering applications. Some of Sound Forge’s most useful features include “Declicker,” “Dehisser” and “DeCipper,” which help remove common audio impurities that can impact sound quality. You can also customize Sound Force with a variety of useful third party add-ins, such RX Elements, which can help clean up bad-quality sound recordings, and Ozone Elements, a useful set of mastering tools.

Key Takeaways:

• Magix Sound Forge 12 is not just a recording software, but it is a multi-platform that includes editing as well.
• Audio apps that are made for Windows are typically very clinical looking, and this program is not exempt.
• The tools that are offered within the app are considered highly analytic and offer some great options.

“Version 12 also comes with some new goodies in addition to its existing complement of audio processing tools. Wave Hammer 2.0 is a dedicated mastering processor with compressor and maximizer, and there are three new tools for audio restoration. DeClipper, DeHisser and DeClicker are all great for solving problems in audio files, particularly voice over, one of the things for which Sound Forge is particularly popular.”

Read more: https://ask.audio/articles/review-magix-software-sound-forge-12

The use of an equalizer can be a handy way to help improve sound quality and correct obvious performance issues with quality sound systems. Although an equalizer’s various filters can be used effectively to expand or decrease the “balloon” found at a specified octave band, its main weakness is that it’s an indiscriminate tool that boosts energy for all outputs throughout the system. Sometimes, a more discriminating approach is needed to reshape the radiation balloon correctly for maximum audio system performance, which can open a whole new world of possibilities beyond those possible with regular use of an equalizer.

Key Takeaways:

• In order to address a flat-on axis, it is important to consider both the on-axis and the off-axis during the editing process.
• In order to produce the best equalization results, try to locate the best common denominator within the various axis forms.
• Loudspeaker interactions are good characteristics to implement, but they do have a tendency to cause huge swings.

“The procedure often followed for equalizing a loudspeaker is to place the measurement microphone on-axis and adjust for the flattest frequency response. This involves cutting and boosting some filters on the equalizer.”

Read more: https://www.prosoundweb.com/channels/study_hall/miracle_solution_what_equalization_can_-_and_cannot_-_do/