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How to make the most of your  live sessions

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How to make the most of your  live sessions

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A memory aid

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How An Analogue Workflow Might Benefit You In A Digital Environment

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How An Analogue Workflow Might Benefit You In A Digital Environment

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Populate every channel with the same EQ and compressor, set up a few select reverb types and maybe a delay on sends and even perhaps add those sends (muted) to every channel, all ready to go, and see if it doesn't make your every day work more creative by eliminating needless decisions.

Working in analogue, we had a finite number of outboard gear choices.

We had a large console with its equalisers, and whatever outboard gear any given studio had in the rack. Only so many compressors, only so many reverbs, and so on.

This meant that we sometimes would print the reverb plate with the drums so that we could free it up to use on the vocals in the mix, or compress the guitar to tape because we needed that compressor for something else in the mix.

We don't need to do that now when plug-ins offer an infinite number of instantiations. But having that compression or reverb already committed, or at least chosen, on the spot provides a perspective to build upon.

If I am working in a way that allows it, I record (or "print") any eq and compression going into Pro Tools as I see fit. But if circumstances don't allow for that reasonably, then I will use the appropriate plug-ins to achieve a similar effect and just have them on there from the beginning as though it was "printed".

Hearing the guitar as close as possible to the way it's going to be in the final mix makes your next overdub choices easier and clearer and more relevant. The 'analogue workflow' way of thinking says: don't delay those choices; make your choices and base your next decisions on them.

And do you really 'need' 6 reverbs in your mix? Or for that matter do you need to agonise over which of your 12 reverb plug-ins to use?

We typically had a few options in a given studio, perhaps one plate and one digital reverb, a chamber if you were really lucky, and that was that. But that also meant we had to really think about creating a sonic space based on the reverbs we had at our disposal.

Use what you have and make it work.

Again, this might not be because you have that actual limitation; you might actually have those 13 reverb plug-ins in your folder and you can instantiate as many of a given one as you like. But rather the mental energy spent on paging through your list of reverbs is likely to be better spent in the creative side of your brain, using just two or three reverbs you set up and decide how to use.

What about even EQ? To me, this is a big one.

Most often we used what the desk had built-in. Perhaps one or two things in a mix might have an additional outboard equaliser patched in, but on the whole, the desk EQ was it.

And I would argue that this gives a certain cohesiveness to a mix that's actually beneficial over an assortment of EQ choices. "How do I glue my mix together" is one of the most common questions I see on the internets from project studio users. And one sure way to get that 'glue' is to use the same type of EQ on everything.

One thing very much worth trying is to create your own DAW "console" by populating your DAW tracks with your favourite channel EQ on every channel. Perhaps even follow that with your favourite compressor on every channel. You can bypass some for sure, (I certainly don't need a compressor on every track,) but try creating that virtual mixing desk in the box and see if it doesn't both speed your workflow and make for a more unified sound blend.

Hint: it will, and, once again, it saves all that mental busywork involved in choosing plug-ins.

Go one step further and set up a few select reverb types and maybe a delay on sends, and even perhaps add those sends (muted) to every channel, all ready to go, and see if it doesn't make your every day work more creative by eliminating needless decisions.

Mixing To Sound 'Like A Record' Every Time

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How An Analogue Workflow Might Benefit You In A Digital Environment | Production Expert

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William Wittman is a Grammy Award-winning independent Producer/Engineer/Musician/Songwriter based in New York who began his career as a musician and moved from there into work as a studio engineer and producer, his credits include the multi-platinum debuts from Cyndi Lauper, Joan Osborne, the Hooter

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For future reference

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Welcome to , an online resource for Keele University Music Department's microphone collection.
Please use the navigation at the top of the page to access:

A comprehensive list of current microphone stock.

Recordings made using each individual microphone model.

Technical specifications and further information.

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Welcome to , an online resource for Keele University Music Department's microphone collection. Please use the navigation at the top of the page to access: A comprehensive list of current microphone stock. Recordings made using each individual microphone model. Technical specifications and further information.

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This site has been created for the use of Keele Music students, to give you a an overview of our electronic equipment stock. All of the equipment is accessible to every Keele Music student but please be aware that a proportion of this equipment is permanently installed in our studios and may not be removed/relocated. Please contact See for an up to date list of our Mic stock. if you have any queries.

# data[].attributes.attachment_link.description
This site has been created for the use of Keele Music students, to give you a an overview of our electronic equipment stock. All of the equipment is accessible to every Keele Music student but please be aware that a proportion of this equipment is permanently installed in our studios and may not be removed/relocated.

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See what’s new in KOMPLETE KONTROL | Native Instruments

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Two studio legends: the 1176LN Limiting Amplifier and Teletronix® LA-2A Leveling Amplifier compressors

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Two studio legends: the 1176LN Limiting Amplifier and Teletronix® LA-2A Leveling Amplifier compressors

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This month we're looking at two studio legends: the 1176LN Limiting Amplifier and Teletronix® LA-2A Leveling Amplifier compressors. Each one is quite different from the other. We've done articles and videos in the past showing how they work, but one little-known compression secret is that they can be used together on the same track. Why, you may well ask? Because it gives you more control over the compression and can create a very smooth effect, especially on a track that varies wildly in dynamics.

Sometimes you can't reign in the dynamics the way you need to with one compressor without causing audible compression artifacts. For example, if you like the sound of getting 5 to 7 dB of compression with the LA-2A, a large peak might suddenly cause 12 dB of compression and the release might not recover in time for the next audio transient. You'll hear the level slowly come back up: your basic "pumping and breathing" effect. So using a fast compressor right before the LA-2A does the trick. Some people use three or more compressors on a track! One basic rule is that each successive compressor has a lower compression ratio than the one before it, and the first one is typically just catching the peaks.

To review the two compressors, the 1176LN Classic Limiting Amplifier is a FET-based compressor. It has Input and Output gain, Attack and Release controls, and four compression Ratios. It doesn't have a threshold control, but turning up the input gain has the effect of turning down the threshold. Aside from that, it is very much like most utility compressors.

The LA-2A Classic Leveling Amplifier, on the other hand, is an opto-based compressor, which means it uses a electro-optical device to perform gain reduction. There are no attack, release, or compression ratio controls. There is Peak Reduction, which increases the amount of compression by lowering the threshold. The tube-driven output Gain control makes up for the gain lost by the peak reduction. Finally there is the Limit/Compress switch, which increases the compression ratio from around 3:1 (compress) to 10:1 (limit).

The most common combination is to put the 1176 first and set it up as a peak limiter. To do this, set a high compression ratio, like 12:1, and a fairly fast attack and release. The point here is to just flatten the higher peaks. This compressor should not be doing a whole lot, just knocking 2 to 3 dB off of the loudest peaks.

The input gain needs to be adjusted carefully to do this. Usually it is best to find a part of the track with the highest peak or peaks and cycle that, and adjust to get the effect I described. Then use the output gain to match the level. To do this, disable the compressor and listen to the average level of your track, then enable it and adjust the output gain until you can't really hear a difference in level.

The LA-2A should be set up just like you would if it were being used alone, with the Compress/Limit switch set to Compress, and Gain Reduction and Gain set to taste. But the 1176 knocked the big peaks down, which would have thrown the LA-2A into quite a bit of compression.

You can also reverse the order of the two, using the LA-2A in Limit mode to knock down the peaks, and the 1176 to smooth out the rest of the track. Just like all audio tools, there are no hard and fast rules. If something has the desired effect, go for it!

Check out the video to see both of these compressors being used together on a variety of audio tracks.

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Chaining the 1176LN and LA-2A Compressors for Maximum Control | Universal Audio

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This month we're looking at two studio legends: the 1176LN Limiting Amplifier and Teletronix® LA-2A Leveling Amplifier compressors. Each one is quite different from the other. We've done articles and videos in the past showing how they work, but one little-known compression secret is that they can be used together on the same track.

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Andrew Scheps on Split & Inline Consoles

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Andrew Scheps on Split & Inline Consoles

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Andrew Scheps Explains Inline And Split Line Consoles [Excerpt]

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In this tutorial I am explaining mixing consoles. What types of consoles are there? What is the signalflow in these consoles? What are Busses and Auxes? We're going to take a look at all those in the first part about mixing consoles, and we'll need all this knowledge to really understand mixing..