Paul White Workshops - Recording/Mixing

Sound On Sound
Est. 1985

Paul White
Workshops

Computers

MIC MECHANICS	Recording/Mixing	August 1999
Frequently Asked Questions: Using Microphones There are some questions of recording technique which seem to come up again and again. Paul White sets out to answer some of the most common queries on how to choose and use microphones...
MIKING THE TAKE	Recording/Mixing	September 1995
The Art Of Miking Acoustic Instruments With MIDI playing an even greater part in music production, there's a danger that the art of using microphones will be lost. Paul White describes the valuable techniques of miking acoustic instruments - something he recommends every studio user should learn.
HEAR NO EVIL..	Recording/Mixing	January 1995
Monitoring And Vocals If you can't get a good performance from your vocalist, it could be your method of monitoring that's at fault. Paul White offers some helpful advice.
20 TIPS ON AUDIO RECORDING WITH COMPUTER SEQUENCERS	Recording/Mixing	June 1999
Audio Recording With Computer Sequencers The recording studio inside the virtual world of the computer is real enough, but sometimes you have to treat it with care to get the best from it. Paul White offers a few tips on the subject.
20 TIPS ON MIXING	Recording/Mixing	June 1998
20 Tips On Mixing Paul White delivers a crash course in instant mixing.
20 TIPS ON RECORDING GUITARS	Recording/Mixing	August 1998
20 Tips On Recording Guitars Paul White and Dave Lockwood strum up a few tried-and trusted methods of improving your studio guitar sound.
20 TIPS ON RECORDING VOCALS	Recording/Mixing	October 1998
20 Tips On Recording Vocals If you've got a storming vocal on tape you're halfway towards a great production. Paul White offers some tips on perfecting this most important of recording skills.
20 TIPS ON REDUCING NOISE	Recording/Mixing	March 1999
20 Tips On Reducing Noise Hums, clicks, rustles, chirps, shuffles and creaks. Just a few of the sounds that your recordings could well do without.Paul White has a quiet word about the art of noise reduction.
3D MIXING: GIVING YOUR MIXES MORE SPACE	Recording/Mixing	November 1994
3D Mixing: Giving your mixes more space Paul White explains some of the principles behind the 3D sound perception, and shows how you can apply some of these to your mixes using nothing but simple effects and a little EQ.
ADAT: POWER USER'S GUIDE	Recording/Mixing	December 1994
ADAT: Power User's Guide Armed with a bunch of Alesis technical papers, Paul White unravels the mysteries of those inscrutable error messages, the sevret button combinations and the finer points of ADAT tape care.
AUTOMATION STATIONS: Part 1	Recording/Mixing	January 2000
Introduction To Mixer Automation: Part 1 Paul White introduces the concept of VCA and moving-fader mixer automation in the first part of a short series on automated mixers and their applications.
AUTOMATION STATIONS: Part 2	Recording/Mixing	February 2000
Introduction To Mixer Automation: Part 2 Paul White concludes his short series on mixer automation with a step-by-step guide to setting up and running an automated mix.
BASSIC INSTINCT	Recording/Mixing	October 2001
Recording Bass Instruments Paul White provides some practical tips for achieving better recorded bass guitar and bass synth sounds.
BURNING ISSUES	Recording/Mixing	July 1999
Compiling An Album On CD-R Up to 30 percent of SOS readers are planning to buy a CD recorder this year, so clearly many of you have designs on making your own album. Paul White talks you through the process of compiling an audio album on CD-R using a stand-alone CD recorder fed from a DAT source.
CHOPPING AND CHANGING: Part 1	Recording/Mixing	January 2000
Stereo Editing: Part 1 In the first part of a new series, Paul White looks at the practicalities of stereo editing. So, if you plan on compiling your stereo mixes into an album master, you'd better read on.
CHOPPING AND CHANGING: Part 2	Recording/Mixing	February 2000
Stereo Editing: Part 2 After last month's overview of the equipment and processes involved in compiling an album master from mixes, Paul White gets down to the business of sorting out wanted audio from unwanted...
CHOPPING AND CHANGING: Part 3	Recording/Mixing	March 2000
Stereo Editing: Part 3 In the final part of his series on digital editing, Paul White examines some methods of removing clicks from a recording, before looking at how to burn a production master CD.
DON'T TOUCH THAT FADER!	Recording/Mixing	May 1996
Faderless Mixing Craig Anderton offers a few tips to help you balance your mix without relying solely on changes to relative volume levels - and gets in touch with his Neanderthal past. Additional material by Paul White.
DRUM MAJOR	Recording/Mixing	February 2001
Mixing Multitracked Drums With drum machines and samplers becoming increasingly prominent in music production, mixing real drums is becoming something of a lost art. Paul White explains the basics of this important mixing skill, and shares some secrets on how to get the best drum sound.
EQUALISERS EXPLAINED	Recording/Mixing	July 2001
Equalisers Explained EQ is a vital tool in modern music production, and an understanding of how each type of equaliser works is important if you are to choose the most effective one for each situation. Paul White and Mike Senior explain the basic principles of equalisation and the different practical implementations.
FIXING THE MIX: Part 1	Recording/Mixing	July 1996
Fixing The Mix Part 1: Salvage Techniques Conventional wisdom states that you can't 'fix it in the mix', but that doesn't mean you cant' try! Paul White discusses a few practical salvage techniques in the first part of this short series.
FIXING THE MIX: Part 2	Recording/Mixing	August 1996
Fixing The Mix Part 2: Advanced Improvements Last month, Paul White looked at ways to tackle the noise and distortion that can spoil a mix. However, even a perfectly recorded mix can still sound terrible, and this calls for different tactics...
HARD CHOICES & SOFT OPTIONS: Part 1	Recording/Mixing	July 1998
Choosing A Recording Setup: Part 1 Part 1: Confusing, isn't it? Where once the only recording option was tape, you can now put a whole studio inside a desktop PC or opt for an all-in-one recording and mixing hardware solution. Then again, you could stick to tape, or buy a separate hard disk recorder. In the first of this short series, Paul White examines the choices.
HARD CHOICES & SOFT OPTIONS: Part 2	Recording/Mixing	August 1998
Choosing A Recording Setup: Part 2 Part 2: Following on from last month's look at the advantages and pitfalls of analogue and digital tape, and hardware tapeless recorders, Paul White turns his attention to the ways in which computers can be used in audio recording.
HARD CHOICES & SOFT OPTIONS: Part 3	Recording/Mixing	September 1998
Choosing A Recording Setup: Part 3 Part 3: What do you need to put together to create your own studio? Paul White investigates practical options for a core system based on preferred methods of creating music.
HARD CHOICES & SOFT OPTIONS: Part 4	Recording/Mixing	October 1998
Choosing A Recording Setup: Part 4 Part 4: Just when you thought it was safe to dip your hand in your pocket and buy that ideal studio, Paul White throws digital mixers into the frame.
HARD CHOICES & SOFT OPTIONS: Part 5	Recording/Mixing	November 1998
Choosing A Recording Setup: Part 5 Part 5: In this final part of our series looking at the alternative systems available for recording and mixing, Paul White outlines his own system and the reasons for building it that way.
HEAR NO EVIL..	Recording/Mixing	January 1995
Monitoring And Vocals If you can't get a good performance from your vocalist, it could be your method of monitoring that's at fault. Paul White offers some helpful advice.
IVORY POWER	Recording/Mixing	October 1994
Acoustic Piano Miking Workshop Though the acoustic piano isn't exactly Paul White's forte, he (fortunately) knows rather more about miking it up than about playing it...
LIVE AND DIRECT	Recording/Mixing	March 1996
First Steps In Direct-to-stereo Recording If you don't have a multitrack but you're keen to start experimenting with recording, good results can be achieved with just a couple of mics and a domestic cassette deck. Paul White shows you how to be a stereo MC...
LIVE FOREVER	Recording/Mixing	February 2000
Frequently Asked Questions: Live Recording There are some recording jobs that simply can't be handles in the average bedroom studio. Paul White answers questions about recording a rock or pop band on location.
LIVIN' IT LARGE	Recording/Mixing	June 2001
Increasing Loudness In Dance-music Production Paul White shows you how to get that massive dance sound. Additional material by Mike Senior.
MASTERING ON ADAT	Recording/Mixing	February 1995
Mastering On ADAT Those of us who can afford it probably master to DAT, but for the ADAT user, this isn't necessarily the best option, as Paul White reveals.
MATCH BEFORE YOU MIX: Part 1	Recording/Mixing	May 1996
Preventative Medicine In The Studio: Part 1 It can all go without a hitch; recording, overdubbing, even the mixing - but the finest ingredients do not always guarantee a feast. Paul White explains how a little forethought and planning can make all the difference to your final mixes...
MATCH BEFORE YOU MIX: Part 2	Recording/Mixing	June 1996
Preventative Medicine In The Studio: Part 2 Last month, we looked at which elements are most likely to go wrong in the mix. This month, Paul White takes a more positive line, and looks at how to record the right instrumental sound to tape in the first place.
MINIMISING MIXER AND EFFECTS NOISE	Recording/Mixing	July 1996
When using effects, it's all too easy to add noise to your mix - and it's not always the fault of your effects unit. Paul White offers a few practical tips for achieving quieter mixes.
PEAK FITNESS	Recording/Mixing	October 2000
Gain Structure For Soundcard Recording Paul White offers a few levels for soundcard-based music systems.
POLISHED PRODUCTION	Recording/Mixing	October 1999
Giving Your Recordings A 'Produced' Sound Why is it that some perfectly well-recorded songs sound like demos, while others sound like top commercial tracks? Paul White investigates the mystery of the 'produced' sound.
POST-PRODUCTION SWEETENING	Recording/Mixing	August 1995
How To Improve Your Stereo Master Paul White presents a few low calorie tips on how to sweeten and edit your sounds after mixing them.
DRUM MAJOR	Recording/Mixing	February 2001
Mixing Multitracked Drums With drum machines and samplers becoming increasingly prominent in music production, mixing real drums is becoming something of a lost art. Paul White explains the basics of this important mixing skill, and shares some secrets on how to get the best drum sound.
RECORDING ACOUSTIC GUITAR	Recording/Mixing	August 2001
Recording Acoustic Guitar While physical modelling preamps may take the hassle out of recording electric guitars, you're still going to need to reach for a mic when recording acoustic guitar. Paul White shows you how to get the best recorded sound, and offers a few of his favourite tricks of the trade.
REELING IN THE YEARS	Recording/Mixing	May 1996
Salvaging Archive Tape Recording What do you do if a valuable master tape that you've had on the shelf for the past 15 years tries to weld itself to the playback head as soon as you try to play it? Swear loudly, then pop in in a low oven, advises master chef Jean-Paul White...
SIGNAL BOXES	Recording/Mixing	April 2000
Frequently Asked Questions: Voice Channels Paul White answers some oft-heard questions on the use of voice channels in recording. Additional information by Sam Inglis.
SIGNAL FAILURES	Recording/Mixing	November 1995
Signal Problems And How To Avoid Them In an ideal world, studios would function without hum, hiss, glitches, or mysteriously absent signals, but as Paul White has discovered through experience - they don't!
SIMPLE SIGNALS	Recording/Mixing	June 1999
direct-to-stereo RECORDING You don't necessarily need a multitrack recorder or audio sequencer to make a master-quality recording. Paul White explains how good results can be produced using stereo recording techniques married with MIDI sequencing.
STRINGFEST!	Recording/Mixing	November 1996
Producing And Recording Electric Guitar Styles Paul White gives some foolproof step-by-step ideas for creating contemporary and vintage guitar sounds in the studio.
SUB CULTURE	Recording/Mixing	October 1995
Submixing In The MIDI Studio Paul White examines the role of the keyboard submixer in the MIDI/tape recording studio.
THE LOW DOWN	Recording/Mixing	March 1999
Recording Bass Guitar Although most modern synths come with good bass guitar patches, there's still nothing quite like the real thingplayed well - provided you know how to record it. Paul White examines a few alternative approaches.
THE MAGIC BUSS	Recording/Mixing	September 1996
Making The Most Of Your Mixer Paul White reveals a few of the less well-trodden paths hidden within your mixer's routing system.
THE O ZONE	Recording/Mixing	November 1999
Getting The Most From Yamaha 's Digital Mixers The flexibility of Yamaha's popular O-series digital mixers means that there are as many ways to use them as there are owners. Paul White passes on some tips from both Yamaha insiders and professional users.
TOP BASS	Recording/Mixing	November 1999
Getting More Bass In Your Mix Do you want your bass end to sound bigger, fatter, louder and meaner? Paul White explores some of the options.
VOX POP	Recording/Mixing	June 2001
Frequently Asked Questions: Recording Lead Vocals A great lead vocal sound can make all the difference between an average demo and a potential single. Paul White and Mike Senior answer some of your questions on vocal recording.
WIDE ANGLE	Recording/Mixing	October 2000
Improving Your Stereo Mixing Paul White explores how you can give your mixes more stereo depth and width - not only using the more commonly recognised methods, but also with a few lesser-known tricks of the trade...
WORD UP: RECORDING THE SPOKEN WORD	Recording/Mixing	June 1994
Recording The Spoken Word Recording the spoken word requires a slightly different approach to recording vocals, and intelligibility takes over from musicality as the prime consideration. Paul White spreads the word.
YOU ARE SURROUNDED	Recording/Mixing	January 2001
Frequently Asked Questions: Surround Sound Surround mixing is becoming increasingly important to all of us, rather than just those who work in audio-for-picture applications. Paul White and Hugh Robjohns explain the techniques and the technology.
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