How To

For more than a decade, Focusrite’s RedNet ecosystem has been a top choice for studios using networked audio systems. Using Audinate’s Dante protocol over standard Ethernet cables, large networks of Focusrite RedNet interfaces can share hundreds of high-res audio streams with vanishingly low latency (and eliminate the need for expensive analog snakes and patchbays in the process).  Continue reading →

PLAYBACK cover star and Third Man Mastering engineer Bill Skibbe recently welcomed the BURL Audio crew into the label's pressing plant and studio. The Detroit-based mastering facility features an immaculate set-up, including a Rupert Neve Designs 5088 console, Neumann VMS-70 cutting lathe, Studer tape machines, and a BURL Audio B80 Mothership. Continue reading →

One of the few brands beloved by audio professionals and audiophiles alike, Antelope Audio has a 20-year history of delivering highly accurate and transparent digital audio converters, interfaces, and master clock systems. In recent years, Antelope expanded its offerings to include an even greater range of interfaces, as well as studio monitors, modeling microphones, a mastering-grade monitor controller, and more. Simply put, Antelope Audio is an excellent choice if you’re considering building an immersive audio system. The Orion and Galaxy interfaces offer a ton of I/O and flexibility, the Atlas i8 monitors deliver stunning accuracy and imaging, and the MRC controller makes it easy to manage complex immersive monitor systems up to 9.2.6. Continue reading →

Neumann has always been known for making world-class microphones, but the Berlin-based company has expanded in recent years to offer top-notch studio monitors, headphones, and an immersive-capable audio interface. And the industry has taken notice: five out of six albums nominated for the Best Immersive Album at The Grammys were mixed using Neumann monitors. If you’ve been thinking about an immersive upgrade for your studio, Neumann now has everything you need to start working in Dolby Atmos, Ambisonics, and other immersive formats. Here’s how to put together an all-Neumann immersive system, starting with everyone’s favorite part: a whole bunch of speakers. Continue reading →

Grammy Award-nominated engineer, producer, and musician Bobby Holland recently welcomed a group of music makers to Studio A and Studio B at Pentavarit. Inside the Nashville-based studio, Bobby broke down his immersive audio workflow and some of the recent updates he has made to his set-up. One standout change is Bobby's transition to an Antelope Audio interface as the central hub of his immersive audio rig. He is now using a Galaxy 32 Synergy Core audio interface, in addition to the new MRC Multi-Channel Remote Controller. "I just love it. I think this series is incredibly innovative." Bobby says of the Galaxy 32. "With as much I/O as they've crammed into it, I think the overlooked feature is the flexibility." Continue reading →

Whether you work in the music, film, or game industries, you’ve likely seen a steadily growing buzz about immersive audio formats such as Dolby Atmos, DTS:X, and Ambisonics in recent years. Already well-established in the worlds of film and virtual reality, immersive audio’s popularity for music is on the rise, and many studios have already upgraded their monitoring to work in these formats. For many, this new frontier of mixing offers exciting creative possibilities to explore. For others, it’s a necessary skill to learn to keep up with the industry and stay relevant. Either way, there’s an ante to join this game: if you want to work with immersive audio professionally, your studio is going to need a few upgrades.  Continue reading →

In years past, tape echoes were often employed by musicians, producers, and engineers who wanted to add space, ambiance, or rhythmic flavor to their tracks and instruments. Although they were later replaced by the cleaner and more accurate digital delays, the humble tape echo enjoyed continued use, as the character of the repeats and tonality of the machines had many musicians and engineers consider the tape echo as almost an instrument in and of itself. Continue reading →

There’s nothing quite as rewarding as a well-running, fully patched-in studio. There’s also no bigger eye-sore than seeing piles and endless streams of wires and cables in your otherwise pristine recording space. Cables are a given for any recording studio or pro-grade home recording setup, mainly because of all the components involved: Input sources like mics, MIDI controllers, and studio monitors that link to your computer, outboard gear like preamps or compressors, individual inputs and mixers for headphones, snakes for routing different rooms—the list goes on Thankfully, there are some steps you can take to reduce your cable clutter without sacrificing audio quality or overhauling your studio. You might even have access to some of these tools without even realizing it. Here are some of our go-to audio interfaces for streamlining your studio wiring. Continue reading →

Recording drums is equal parts art and science, and there are no hard-and-fast rules. Much like cooking, personal taste plays a big role. One could say beauty is in the ear of the beholder. Below is a compilation of some of our favorite microphones for recording drums. While applications and techniques vary, and depending on the room, these might be an alternate take on anyone’s current go-to’s. So if a starting point is the goal, or a fresh approach to miking drums is desired, then the following will help or at least make a healthy start to building out that coveted mic locker.    Continue reading →

These days, a lot of people are eyeing film, TV, and game placements as great resources for making money from their music. There are a number of creative and technical concerns that go into not only making your music suitable for film and TV placements, but making it stand out, and more likely to get placed.  There are several ways...