Paul White Workshops

*Paul White Workshops*

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COMPUTER LOVE	Technique : Computers	April 1994
Streamlining Your Computer Sequencing Paul White gives some tips on how to get the best out of your computer sequencer without needing a degree in computer science...
HARD TIMES	Technique : Computers	October 1994
Basics Of Hard Disk Recording: Part 1 Paul White looks at both sides of hard disk recording, and concludes that although it's generally a good thing, it isn't destined to take over the world just yet.
HEAR NO EVIL..	Technique : 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.
THE SOUNDCARD STUDIO	Technique : PC Musician	November 1996
PC Desktop Music Systems And How To Connect Them Paul White looks at the components of a PC-based desktop music system, and suggests some helpful ways of using such setups in conjunction with more 'traditional' studio equipment.
A STITCH IN TIME	Technique : DIY	April 2000
Preventative Maintenance In The Studio Audio equipment is expensive, so it pays to keep it in good condition and forestall potential problems. Paul White provides a few tips.
BACK TO BASICS: Part 1	Technique : DIY	March 1995
Planning your first home studio Part 1 Want to set up a home studio but don't know where to start? In the first part of a new series, Paul White guides you through the creation and setting up of a basic home recording system.
BACK TO BASICS: Part 2	Technique : DIY	April 1995
Planning your first home studio Part 2 Part 2: You might think that the layout of your studio is determined purely by where your monitors go and where you sit, but as Paul White explains, there are few areas where you have to exercise a bit of care.
BACK TO BASICS: Part 3	Technique : DIY	May 1995
Planning your first home studio Part 3 Part 3: The syncing of MIDI sequencers with multitracks is an important part of modern recording and can help you to make the most of a limited equipment budget. In the third part of this series, Paul White looks at the various ways of running multitrack tape and MIDI equipment simultaneously.
BACK TO BASICS: Part 4	Technique : DIY	June 1995
Planning your first home studio Part 4 Part 4: Paul White looks at the multitrack recording console and its role in your multitrack recording system.
BACK TO BASICS: Part 5	Technique : DIY	July 1995
Planning your first home studio Part 5 Part 5: nothing dampens creativity more than a studio full of 'spaghetti' cabling. This month, Paul White explains the virtues of installing a patchbay to banish cable clutter once and for all.
BEAT THE SYSTEM	Technique : DIY	August 1995
DIY Drum Pads And Pedal Triggers Paul White enters Blue Peter mode and puts together a fully working drum pad and pedal trigger system for less than the cost of a pint of lager. If you own an Alesis D4, drumKAT, Akai ME35T or any other drum machine or percussion controller that accepts external pads, you can't afford to miss this.
BUILD A GUITAR AMP DUMMY SPEAKER LOAD	Technique : DIY	April 1994
Build A Guitar Amp Dummy Speaker Load Budget speaker simulators make it easy to get a good guitar sound directly from your guitar amplifier to tape, but you'll need a dummy speaker load if you want to work with your speaker cab disconnected. Paul White shows you how to build one with the absolute minimum of time and expense.
CHEAP TRICKS	Technique : DIY	February 1995
Improving Your Studio For Next To Nothing Paul White reveals a few of his Blue Peter-style secrets, the general aim being to construct something useful in the studio without spending more than a pound!
CHOOSING STUDIO CABLE	Technique : DIY	February 1996
When it comes to cabling, it pays to have the right connections. Paul White makes the introductions.
DIGERIDOODLING	Technique : DIY	August 1995
How To Make Your Own Digeridoo Paul White explores the outer limits of physical modelling on a budget that wouldn't even buy you a decent pair of shoestrings!
DOCTORING THE DA	Technique : DIY	October 1996
Tascam DA88 Care And Maintenance Getting the best performance from a digital tape recorder such as the DA88 depends largely on conscientious maintenance and cleaning. Tascam's chief service manager, Joe Fialho, tells Paul White what can safely be done by the user - and when it's necessary to call in the professionals.
NO NOISE IS GOOD NOISE	Technique : DIY	July 1995
Soundproofing Tips For The Home Studio Not everyone can justify building an acoustically treated, soundproof studio, but with a little effort and ingenuity, you can often make significant improvements to the room you already have at very little cost. Paul White presents a few ideas.
NO NOISE IS GOOD NOISE: Part 1	Technique : DIY	February 1998
Practical Studio Soundproofing: Part 1 Part 1: Waking up the neighbours with the latest turbo folk masterpiece is a major concern for many project studio owners. Paul White explains that monitoring with headphones and moving house are not the only solutions...
NO NOISE IS GOOD NOISE: Part 2	Technique : DIY	March 1998
Practical Studio Soundproofing: Part 2 Part 2: Doors & Windows. No matter how thick and heavy the walls of a studio, it will still leak sound if the doors and windows are not up to scratch. Paul White explains how you can uprate them without breaking the bank.
NO NOISE IS GOOD NOISE: Part 3	Technique : DIY	April 1998
Practical Studio Soundproofing: Part 3 Part 3: walls, floors and ceilings. If you're serious about cutting noise from your studio, you'll have to explore the mysteries of studding and neoprene rubber. Paul White explains that it's not quite as exciting as it sounds...
NO NOISE IS GOOD NOISE: Part 4	Technique : DIY	May 1998
Practical Studio Soundproofing: Part 4 Part 4: If you have the space, the time and the money, the best sound isolation can be achieved by building a room within a room. Paul White explains what's involved.
PRAGMATIC ACOUSTICS	Technique : DIY	March 1994
Pragmatic Acoustics Few of us are in a position to fit our houses with false walls, suspended ceilings and floating floors - so how can we create a reliable monitoring environment? Paul White explains that it's not as daunting as it seems.
ROOM FOR IMPROVEMENT: Part 1	Technique : DIY	July 1998
Practical Acoustic Treatment: Part 1 Part 1: Paul White examines the basic principles of acoustic treatment in order to help you improve your recording and monitoring environment.
ROOM FOR IMPROVEMENT: Part 2	Technique : DIY	August 1998
Practical Acoustic Treatment: Part 2 Part 2: In his second article on acoustic treatment, Paul White tackles the absorbing subject of acoustic traps.
ROOM FOR IMPROVEMENT: Part 3	Technique : DIY	September 1998
Practical Acoustic Treatment: Part 3 Part 3: Paul White looks at how you can calculate how much studio acoustic treatment you really need.
ROOM FOR IMPROVEMENT: Part 4	Technique : DIY	October 1998
Practical Acoustic Treatment: Part 4 Part 4: Continuing his quest for the perfect listening environment, Paul White looks at ways to treat a control room without having to bring in the builders.
ROOM FOR IMPROVEMENT: Part 5	Technique : DIY	November 1998
Practical Acoustic Treatment: Part 5 In the fifth and final of our series on acoustic design, Paul White sums up the key stages of designing a project studio and touches on the subject of ait conditioning.
SOLDERING MADE EASY	Technique : DIY	March 1994
Soldering Made Easy Learning to solder is easy, inexpensive and can save both money and frustration. Paul White makes it as painless as possible - just as long as you pick up the soldering iron by the right end!
STANDING ROOM ONLY	Technique : DIY	November 1995
DIY Speaker Stands Paul White indulges in a spot of woodwork therapy, and comes away with two very cost-effective speaker stands.
STUDIO WIRING: Part 1	Technique : DIY	April 1994
Studio Wiring: A Practical Guide: Part 1: Mains Part 1: Mains. When setting up a studio, the temptation is to make do with the existing wiring - but this can lead to problems with hum and interference, as Paul White explains.
STUDIO WIRING: Part 2	Technique : DIY	May 1994
Studio Wiring: A Practical Guide: Part 2: Patchbays Part 2: Patchbays. Having addressed your studio mains wiring, you can now turn your attention to the connections between your equipment. Paul White explains the undoubted benefits of a patchbay system.
WIRE DRILL	Technique : Theory + Technical	August 1999
All About Studio Power & Wiring Poor studio wiring can lead to hums and buzzes, but you can avoid the worst of these problems by following a few simple rules. Paul White and Hugh Robjohns explain all.
TAPE MACHINE CARE	Technique : DIY	March 1994
Tape Machine Care Modern tape recorders, both cassette and open-reel, are capable of giving years of service - but they can also deteriorate very quickly if not cared for. Paul White explains the essentials of cleaning and demagnetising.
20 TIPS ON USING EFFECTS IN THE MIX	Technique : Effects/Processing	July 1999
Using Effects In The Mix The Way you use effects and processors can make or break a mix. Paul White offers 20 useful tips to help you get it right first time.
ADVANCED COMPRESSION TECHNIQUES: Part 1	Technique : Effects/Processing	December 2000
Advanced Compression Techniques: Part 1 Part 1: Paul White looks at different gain-control elements and their effect on audio.
ADVANCED COMPRESSION TECHNIQUES: Part 2	Technique : Effects/Processing	January 2001
Advanced Compression Techniques: Part 2 Part 2: Paul White further explores the secrets of successful compression, and explains how to use advanced techniques for mastering your mixes.
ADVANCED GATING TECHNIQUES: Part 1	Technique : Effects/Processing	April 2001
Advanced Gating Techniques Part 1 Part 1: Paul White explains that there's much more to gating than you might think.
ADVANCED GATING TECHNIQUES: Part 2	Technique : Effects/Processing	May 2001
Advanced Gating Techniques: Part 2 Part 2: Gates are far more than just problem solvers for reducing spill and noise. They can be used to add punch to drum sounds, put rhythmic interest into sustained parts or even as mixing automation, as Paul White explains. Additional material by Mike Senior.
ADVANCED REVERBERATION: Part 1	Technique : Effects/Processing	October 2001
Advanced Reverberation: Part 1 Part 1: Paul White looks at how real reverberant spaces affect the perception of sounds within them, and shows you how your digital reverberation unit can simulate this process.
ADVANCED REVERBERATION: Part 2	Technique : Effects/Processing	November 2001
Advanced Reverberation: Part 2 Part 2: Used correctly, reverb is of the most powerful tools of modern music production. This month, we explore the most effective treatments for some of the individual components of a mix. *
AMPING OUT	Technique : Effects/Processing	September 1994
Using Amps As Effects We've got so used to DI'ing keyboards that miking up an amp is something that never occurs to some people. Paul White explores the benefits of getting out the mics and plugging in the amp.
AUTOMAGIC	Technique : Effects/Processing	August 1999
Alternative Uses For Auto-Tune Antares Auto-Tune is a powerful pitch-correction tool which is already an industry standard for tightening up vocal performances. As Paul White explains, however, it has the potential to do much more...
BACKING A WINNER	Technique : Effects/Processing	May 1999
Faking Ensemble Backing Vocals Paul White comes up with a few tips for using the processing power of your computer audio sequencer to turn one or two voices into a complete backing ensemble.
CANYONS OF THE MIND	Technique : Effects/Processing	June 1996
Psycoacoustics of Reverb Paul White explores a few ways of taking nature's most common audio phenomenon and manipulating it to create special effects.
DELAYING TACTICS	Technique : Effects/Processing	April 1995
Delaying Tactics Digital delay tends to be taken very much for granted, but the majority of today's studio effects would be impossible without it. Paul White describes how to set up your own DDL effects from scratch.
EQUAL OPPORTUNITIES	Technique : Effects/Processing	February 1997
All About EQ Paul White looks at the various types of equaliser, and gives some tips on how EQ should best be applied to your recordings.
EXCITING STUFF!	Technique : Effects/Processing	February 1995
Enhancers And How They Work Exciters and enhancers are often mentioned in SOS, but what exactly do they do to your sound, and how do the various types differ? Paul White explains.
EXTREME EFFECTS: Part 1	Technique : Effects/Processing	November 2000
Expanding Your Effects Horizons: Part 1 Most people are familiar with basic reverb, delay and modulation effects, but what lies beyond? In the first part of a new series, Paul White explores the twilight zone of effects processing.
EXTREME EFFECTS: Part 2	Technique : Effects/Processing	December 2000
Expanding Your Effects Horizons: Part 2 In the final part of his short series on pushing back the boundaries of effects processing, Paul White explores many different applications of audio filters, as well as exploring the possibilities of granular synthesis.
LEARNING PROCESS: Part 1	Technique : Effects/Processing	October 1997
Where To Use Processors And Why: Part 1 Paul White offers a little practical advice on the application of signal processing during recording and mixing.
LEARNING PROCESS: Part 2	Technique : Effects/Processing	November 1997
Where To Use Processors And Why: Part 2 Part 2: Last month Paul White covered gates and compressors; this month it's up to enhancers to justify their existence...
LEARNING PROCESS: Part 3	Technique : Effects/Processing	December 1997
Where To Use Processors And Why: Part 3 Paul White explains why a great reverb doesn't always make a mix sound better.
LEARNING PROCESS: Part 4	Technique : Effects/Processing	January 1998
Where To Use Processors And Why: Part 4 Chorus, phasing and flanging are very common processes, but they don't always achieve the effect you hoped for. Paul White offers a few tips.
LEARNING PROCESS: Part 5	Technique : Effects/Processing	February 1998
Where To Use Processors And Why: Part 5 Delay, originally called echo, is one of the oldest artificial effects, yet it can still be one of the most impressive - if used with care. Paul White explains the potential problems and how to avoid them.
MULTI STORY: Part 1	Technique : Effects/Processing	July 1997
Multi-effects Explained: Part 1 Part 1: To start off this short series on multi-effects programming, Paul White explores the key building blocks found in today's versatile units.
MULTI STORY: Part 2	Technique : Effects/Processing	August 1997
Multi-effects Explained: Part 2 Part 2: Modern multi-effects units provide all sorts of useful processors in addition to the more usual reverb and delay-based effects. Paul White discusses the extras you might find inside your effects box and how best to use them.
MULTI STORY: Part 3	Technique : Effects/Processing	September 1997
Multi-effects Explained: Part 3 Part 3: Having looked at the various types of effects available, Paul White explains the importance of the order in which these effects are applied.
MULTI STORY: Part 4	Technique : Effects/Processing	October 1997
Multi-effects Explained: Part 4 Part 4: Paul White looks at how MIDI can be used to turn static effects into dynamic ones.
MULTI STORY: Part 5	Technique : Effects/Processing	November 1997
Multi-effects Explained: Part 5 Part 5: Paul White concludes his series with an exhortation to unleash your creativity...
NATURAL SELECTION	Technique : Effects/Processing	February 1996
EQ: A New Perspective You might think that EQ is simply a tone control, but as Paul White explains, it's really a powerful mind-manipulating tool inextricably linked to the survival of the species!
POWER VOCODING	Technique : Effects/Processing	January 1994
Power Vocoding: With the Boss SE50 & SE70 There's more to vocoders than 'Mister Blue Sky' - and with the vocoders available on some current multi-effects processors, creative vocoding is now available to almost anyone. Paul White lets you in on some unusual applications...
PSYCHOTHERAPY	Technique : Effects/Processing	May 1997
An Introduction To Psychoacoustic Enhancers Paul White looks at the different ways in which the leading enhancers produce their results, and offer some practical advice on where the various types work best.
REVERSE REVERB THE HARD (DISK) WAY	Technique : Effects/Processing	December 1998
Creating Reverse Reverb Paul White conjures up a nostalgic tape effect using an MIDI + Audio sequencer.
ROUTING AROUND	Technique : Effects/Processing	March 1995
How To Patch Effects & Processors The roles of the various signal processors and effects used in audio production are pretty well understood by most musicians, but it's not always obvious where they should be patched into the signal chain to give the best results. Paul White explains.
SPACE EXPLORATION	Technique : Effects/Processing	August 1996
Improving The Sound Of Your Reverb Paul White goes into economy mode and tries to coax an extra degree of realism out of a budget studio reverb unit.
TAKE IT TO THE LIMIT	Technique : Effects/Processing	April 1996
Concise Guide To Compression and Limiting Paul White looks at the many parameters which govern compression, how to improve your recording technique, and how not to throw the baby out with the bathwater.
THE BIG SQUEEZE	Technique : Effects/Processing	April 1997
Compressors And How To Use Them These days a compressor is pretty much an essential purchase if you're recording vocals or non-keyboard instruments. Paul White looks at how they operate, and how they can be used both to control levels and to fatten sounds.
UNDER PRESSURE	Technique : Effects/Processing	December 1994
Compressing Your Mix Paul White proves once again that nothing succeeds like excess. This time he patches in two compressors and a limiter to deal with a minor dynamic range problem...
USING EQUALISATION	Technique : Effects/Processing	August 2001
Using Equalisation Paul White and Mike Senior explain how to get the best practical results from equalisation by understanding the true frequency ranges of most instruments and voices.
VINTAGE ADVANTAGE	Technique : Effects/Processing	January 2001
Understanding & Emulating Vintage Effects Modern digital effects units always include emulations of analogue effects such as tape delay and flanging Ñ but none of them ever seem quite like the real thing. Paul White explains how these vintage effects worked, and offers insight into how our modern attempts could be made more accurate.
VINTAGE FX	Technique : Effects/Processing	December 1995
Faking Tape Loop Echo With so much interest in vintage synths, it's easy to overlook the fact that many classic sounds owed just as much to the tape delays being used at the time as to the instruments themselves. Paul White shows you how to fake the effect.
20 TIPS ON ON HOME MASTERING	Technique : Mastering	February 1999
20 Tips On Home Mastering Now that so many musicians are completing the entire album-making process in their own studios, mastering is becoming an increasingly important skill. * Paul White offers a few pointers to becoming a Master of mastering.
20 TIPS ON SMOOTH STUDIO OPERATION	Technique : Miscellaneous	May 1999
20 Tips On Smooth Studio Operation Paul White presents 20 ways to ensure your studio runs smoothly. If only he'd taken notice of them himself, he might be managing Abbey Road by now!
BITS & PIECES	Technique : Miscellaneous	August 2000
Frequently Asked Questions: Digital Audio Confused by word clock? When is it best to normalise a signal? Are optical cables a con? Paul White answers these and other questions we're most often asked about digital audio.
BUYING USED GEAR	Technique : Miscellaneous	January 1994
Buying Used Gear Paul White offers a few tips to help you avoid pitfalls when buying second-hand equipment.
CUSTOM CLASS	Technique	March 1996
Spicing Up Your Synth Sounds Most synths now boast an infinite variety of sounds, but what the manuals don't tell you is that you need an infinite amount of time to explore them properly. Paul White suggests some short cuts to synth heaven.
EQUIPMENT VALETING	Technique : Miscellaneous	May 1994
Equipment Valeting All too often we don't really pay much attention to the way our equipment looks until we come to sell it - but as Paul White shows, it only takes a few minutes of TLC to give your gear a complete facelift.
HELP FROM THE HI-FI	Technique : Miscellaneous	April 1994
Help For The Hi-Fi Just when it seems that you don't have the equipment to do a job, you might find that your hi-fi, combined with a little ingenuity, solves the problem. Paul White explains...
LABELLED WITH LOVE	Technique : Miscellaneous	January 1995
How To Treat, Label And Store Tape Paul White explains the APRS tape labelling system and offers a few hints of his own on tape care.
MAKING A DIFFERENCE: Part 1	Technique : Miscellaneous	August 2000
Buying The Equipment You Really Need: Part 1 We've all lusted after the shiny new gear that appears month after month in the pages of Sound On Sound - but how do you know what will make a real difference to your recordings and what will be an expensive luxury? Paul White picks out the areas where money will be well spent, and the products that will take your sound up a gear.
MAKING A DIFFERENCE: Part 2	Technique : Miscellaneous	September 2000
Buying The Equipment You Really Need: Part 2 Last Month, Paul White looked at the vocal recording chain to identify areas in which spending more money would produce better results. This month it's the turn of outboard effects and monitoring.
MAKING A DIFFERENCE: Part 3	Technique : Miscellaneous	October 2000
Buying The Equipment You Really Need: Part 3 In the final instalment of this series, Paul White looks at computers, as well as offering some advice on planning a system that allows for future expansion.
MAKING ROOMS	Technique : Miscellaneous	July 2000
Frequently Asked Questions: Soundproofing And Acoustic Treatment Paul White answers some of the most common questions we receive about soundproofing and acoustic treatment for the home studio.
PLUG-IN PLAY	Technique : Miscellaneous	October 2000
Frequently Asked Questions; Using Plug-ins Caught between TDM, MAS, DirectX and VST? Tangled up in virtual inserts and aux sends? Never fear! Resident Plug-in guru Paul White is here to answer all your most common question, and to help you get the most from software audio processing.
SQUEEZING OUT SPARKS	Technique : Miscellaneous	February 1996
Cures for the creatively-challenged Most of the time, inspiration doesn't so much strike as go on strike - so what can be done to coax it back to work? Paul White proffers a few suggestions.
20 TIPS ON AUDIO RECORDING WITH COMPUTER SEQUENCERS	Technique : 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	Technique : Recording/Mixing	June 1998
20 Tips On Mixing Paul White delivers a crash course in instant mixing.
20 TIPS ON RECORDING GUITARS	Technique : 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	Technique : 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	Technique : 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	Technique : 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	Technique : 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	Technique : 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	Technique : 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	Technique : 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	Technique : 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	Technique : 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	Technique : 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	Technique : 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!	Technique : 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	Technique : 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	Technique : 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	Technique : 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	Technique : 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	Technique : 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	Technique : 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	Technique : 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	Technique : 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	Technique : 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..	Technique : 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	Technique : 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	Technique : 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	Technique : 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	Technique : 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	Technique : 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	Technique : 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	Technique : 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	Technique : 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	Technique : Recording/Mixing	October 2000
Gain Structure For Soundcard Recording Paul White offers a few levels for soundcard-based music systems.
POLISHED PRODUCTION	Technique : 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	Technique : 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	Technique : 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	Technique : 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	Technique : 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	Technique : 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	Technique : 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	Technique : 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!	Technique : 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	Technique : 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	Technique : 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	Technique : 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	Technique : 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	Technique : 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	Technique : 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	Technique : 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	Technique : 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	Technique : 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.
OFF THE WALL	Technique : Sampling	June 1994
Creative Sampling made easy You don't have to stick to library samples all the time, and you needn't spend hours creating your own. Paul White reveals a few short cuts.
SAMPLING BASICS: Part 1	Technique : Sampling	January 1996
Sampling Basics: Part 1 Having come a long way from its humble beginnings in the early n-n-n-n-nineteen eighties, sampling is now an integral part of music making. Paul White explains what samplers do and how they can be used.
SAMPLING BASICS: Part 2	Technique : Sampling	February 1996
Sampling Basics: Part 2 Paul White continues his introduction to sampling with a look at some of the extras, accessories and peripherals that you might need in order to get the most out of your new purchase.
SAMPLING BASICS: Part 3	Technique : Sampling	March 1996
Sampling Basics: Part 3 Paul White concludes this series with a look at phrase and loop sampling, the use of keygroups and mapping, and the use of the modern sampler as a synthesizer.
WEIRD SCIENCE	Technique : Sampling	September 1996
Creating Custom Sample Textures Have you ever wished you could create strange, ethereal textures like the ones you hear on the best sample CDs? Paul White shows that it's not as difficult as it might seem.
WOT, NO SAMPLER?	Technique : Sampling	February 1999
Using Sample Loops With Logic Audio Paul White and Paul Joyner explain how to import samples directly to your Mac from an audio CD with Logic Audio Ñ a technique which can be adapted for use with most popular MIDI + Audio sequencers.
20 TIPS ON USING GM MODULES	Technique : Sequencing & MIDI Controllers	July 1998
Some people view GM modules as the chartered accountants of their racks, but believe it or not, there are ways to make them interesting. Paul White and Martin Walker club together to make your GM synth roar.
BREATHE EASY	Technique : Sequencing & MIDI Controllers	January 1998
YamahA VL70M Breath-Controller Sequencing Workshop Paul White finds a few ways around the restricted breath-control facilities of the Yamaha VL70m.
MIDI GUITAR WORKSHOP	Technique : Sequencing & MIDI Controllers	February 1994
MIDI Guitar Workshop Paul White has been a devotee of guitar synths ever since Roland introduced the original GR500 back in the 1970s. Technology has come a long way since then, but there are still various techniques and tricks that can be adopted to make using these fascinating instruments a little less traumatic.
SNEAKY SEQUENCING	Technique : Sequencing & MIDI Controllers	February 1995
A Pragmatic Guide To Creative Sequencer Abuse Paul White reveals more cheats and workarounds aimed at making sequenced instruments sound more realistic.
SPLIT SECOND TIMING	Technique : Sequencing & MIDI Controllers	March 2000
Minimising MIDI & Audio Timing Problems In Computer Sequencers Although MIDI + Audio sequencing packages on both Mac and PC are becoming ever more powerful, 'the timing was tighter on my Atari' is still acommon complaint. Paul White looks at ways of tightening it up, with additional PC information by Martin Walker.
THE RHYTHM METHOD	Technique : Sequencing & MIDI Controllers	September 1996
Creating Rhythmic Gate Effects Paul White reveals how to create rhythmic gate effects, both using conventional hardware and MIDI Controller information.
BATTERY FARMING	Technique : Theory + Technical	May 1999
Avoiding Equipment Battery Failure It seems everybody is talking about the millennium bug, but a far greater threat to the operation of our studios is already ticking away inside our effects units and synthesizers. Paul White gives a battery health warning.
BAY WATCH!	Technique : Theory + Technical	March 1998
All About Patchbays Paul White follows up a few leads and discovers they all end at the patchbay.
BEYOND THE BOUNDARY	Technique : Theory + Technical	December 1995
All About The Boundary Effect Accurate monitoring is a must in the recording studio, but the perceived level of bass depends on where you are standing and where the speakers are positioned. Paul White explains why in audio, a boundary literally means a six.
MICS: THE MECHANICS	Technique : Theory + Technical	April 1998
Mics: The Mechanics; Mic Types & Characteristics The type of mic you choose for a give task can have a profound effect on the quality of the resulting recording. Paul White sorts out the dynamics from the capacitors.
MIC MECHANICS	Technique : 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	Technique : 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.
CAPACITOR MICROPHONES EXPLAINED	Technique : Theory + Technical	February 1998
Capacitor Microphones Explained Paul White looks at the workings of capacitor mics and discusses their advantages for studio recording.
CHOOSING A MICROPHONE: MICROPHONE TYPES AND USES	Technique : Theory + Technical	June 1995
Choosing A Microphone: Microphone types and uses Every studio needs at least one mic, but which type and which model is best? Paul White provides some guidance.
DBS EXPLAINED	Technique : Theory + Technical	February 1994
Decibels Explained Equipment specs quote them, meters read them and operating levels conform to them - but what is a decibel and where did it come from? Paul White explains.
EVERYTHING TO GAIN	Technique : Theory + Technical	October 1995
All About Gain Structure Do your recordings sound like they've been made through a white noise generator? Well, don't just blame the vintage synth or battered effects unit - it could be your gain structure that's at fault. Paul White offers some tips on getting it right...
GROUND CONTROL OF MAJOR HUM	Technique : Theory + Technical	August 1994
Ground Loops explained Few things can be more frustrating than having a recording system plagued by hum. Paul White explains the causes of hum-inducing ground loops, and offers practical advice on how to avoid them.
INSIDE HEADPHONES	Technique : Theory + Technical	March 1994
Open or Closed Headphones? Paul White looks at the differences between open and closed headphones and explains why neither type is a substitute for a loudspeaker monitoring system.
LET ME BE DIRECT	Technique : Theory + Technical	April 1998
DI Boxes & Why We Need Them Paul White explores the role of both passive and active DI boxes in recording applications.
LOCK AROUND THE CLOCK	Technique : Theory + Technical	June 1996
SMPTE And MIDI Time Code Paul White takes a closer look at SMPTE and MIDI Time Code, and their role in Tape-to MIDI sync.
MIDI BASICS: Part 1	Technique : Theory + Technical	August 1995
MIDI Basics: Part 1 Paul White kicks off a new series for newcomers to MIDI.
MIDI BASICS: Part 2	Technique : Theory + Technical	September 1995
MIDI Basics: Part 2 Paul White's absolute beginners' guide to MIDI continues. This month, he explains the concept of MIDI sequencing.
MIDI BASICS: Part 3	Technique : Theory + Technical	October 1995
MIDI Basics: Part 3 What are MIDI messages and what do they do? Paul White explains.
MIDI BASICS: Part 4	Technique : Theory + Technical	November 1995
MIDI Basics: Part 4 Most contemporary sequencers include facilities that make it possible to automate all the key aspects of a MIDI mix, but all too often they remain unused. Paul White explains how to dip your toe in the water without falling in...
MIDI BASICS: Part 5	Technique : Theory + Technical	December 1995
MIDI Basics: Part 5 Paul White looks at the benefits of using a multi-port MIDI interface.
MULTITIMBRALITY BASICS	Technique : Theory + Technical	February 1994
Multitimbrality Basics Although much more widely used than ever before, the ability of electronic instruments to produce numerous different sounds at the same time is still not always fully understood. Paul White explains the underlying concept of multitimbrality.
OHM SWEET OHM	Technique : Theory + Technical	October 1994
The Importance of Impedance Open just about any equipment manual and you'll come across terms like input impedance, output impedance, impedance matching and so on - but what do they all mean, and does it matter anyway? That Paul White chappy - damn his impedance - explains.
SOFT STUDIOS: Part 1	Technique : Theory + Technical	August 2000
Setting Up A Desktop Studio: Part 1 In the first part of a new series, Paul White looks at the business of setting up a desktop computer-based studio. The first stage of planning is to determine exactly what you want your system to be capable of.
SOFT STUDIOS: Part 2	Technique : Theory + Technical	September 2000
Setting Up A Desktop Studio: Part 2 Continuing his series on setting up a recording environment based around a Mac or PC computer, Paul White goes through the hardware and software options for recording audio alongside your MIDI tracks.
SOFT STUDIOS: Part 3	Technique : Theory + Technical	October 2000
Setting Up A Desktop Studio: Part 3 Paul White concludes this short series by considering a more sophisticated desktop studio incorprating an external digital mixer.
SYNCHRONISATION EXPLAINED	Technique : Theory + Technical