A technique pioneered for field recording can give unique and fascinating results when transplanted to a studio setting. This short video from Diego Stocco shows you the secrets of sound design.
Microphones come with many different polar patterns and understanding these can be key to getting a great recording. Joe Albano breaks down which ones to use, and when.
A common question for recording musicians and engineers is whether to use a dynamic or condenser microphone. In this article, Joe Albano explores conventional advice to see whether they hold true.
So you're looking to buy a new condenser microphone? Hold on... here's six things you should consider before you part with your hard earned cash.
There's lots of microphones for capturing good quality sound in a studio or project studio environment, but how does the Royer R-121 ribbon mic stand up? Sara Simms puts it to the test.
7 years since sE released their popular portable reflection filter which made recording audio clean and dry in almost any space, sE are back with SPACE. Hollin Jones gives it a thorough workout.
In part 3/3 of this popular series exploring the ins and outs of microphones, Matt Loel T Hepworth examines what makes ribbon microphones sound fantastic. [Includes video demo too].
The old adage GIGO (Garbage In, Garbage Out) is arguably most important when recording vocals for your music productions. In this article Joe Albano shares 5 essential tips for recording good vocals.
In part 2 of this guide to microphones, Matt Loel T Hepworth examines the ins and outs of condenser microphones and how and what they are best suited for when recording.
A high-quality matched-pair of stereo microphones for just $199 US? Really? What's the catch? How do the M-Audio Pulsar IIs perform against mics four times their price? Joe Albano finds out.
Victor Mason has years of hands-on experience when it comes to working with ways to get good guitar recordings. In this article he discusses using multiple mics, placement, re-amping and more.
There are literally hundreds of documents out there giving detailed descriptions of how close the mouth should be from the microphone, how close the pop filter should be from the microphone, and what