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Review: Image-Line FL Studio 21

The latest release of FL Studio, 21.2 from Belgian-based Image-Line Software, combines a beatmaker’s workstation, tape machine simplicity and a mixing platform. If you’re already familiar with FL Studio, you’ll find an enhanced experience with more resources than ever. If you’re coming to it from elsewhere, you’ll find a new paradigm that will cause new results.

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Review: Adam Audio T5V Active Studio Monitors

When I was asked to review Adam Audio’s lower-cost monitor offering, I was beyond excited. I spent many an hour in Stanford recording studios mixing on Adam monitors, hoping one day I could afford a pair for my studio. When I found out they were the same price as my trusty Yamaha HS5s, I was blown away – and a little nervous. After all, sometimes high-end brands disappoint when they release more affordable gear.

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Underdubbing: The Power of Getting Rid of Stuff for making space in a mix

Back in the day, mixdown sessions consisted of 24 tracks, max. Now, it’s not uncommon for a DAW session to consist of 100 or more. In addition, mixers continually face the problem of “let’s lay it ALL down!” – where every idea, lead line, extra part, and party background is included in the session.

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The NYC Drum Trick

Coined by Bobby Owsinski in his 1999 “Mixing Engineer’s Handbook”, the New York City Compression Trick (or NYC Drum Trick) is a trick used by many New York mixers around that time and before. Once you try the NYC trick it’s hard to imagine not using it on every song. This trick fattens up the rhythm section and makes it rock socks in almost every case.So, it seems like a good idea to go over a little bit about EQ’ing for these very different beasts, even if they may have been played by the same person!

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Killing Two Birds – Filming Live Performance Videos in the Studio

Music is rarely divorced from visuals, and in today’s music business, video is crucial for finding fans – but the traditional music video isn’t the high-value investment it once was. In fact, music videos consistently underperform on social media compared to candid videos like live performances. This is great news for independent musicians. It means you don’t have to spend twenty thousand dollars on a music video, because you’ll do better with something more doable.

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Hold Up: You can sidechain reverb???

Reverb is awesome. Reverb is good. Reverb is necessary. But it’s also the number one thing that makes mixes muddy and noisy – if you don’t wrangle it right. But by now you certainly know about the Abbey Road trick and its cousins. That’s an amazing way to clean things up in the verb. But there’s another trick that’s not talked about as often (or at least it didn’t used to be): using sidechain compression on the verb.
So, it seems like a good idea to go over a little bit about EQ’ing for these very different beasts, even if they may have been played by the same person!

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Top 5 Considerations When Mixing Orchestral Music

Hey – not everybody is making electronica and indie-rock here. There’s a whole world of creativity (and money, if you’re good at it!) in orchestral music – especially since orchestral samples are so good these days. But mixing an orchestra can be a bit different than mixing a rock band or an electronic track, so here are five of our top considerations when mixing orchestral music.
So, it seems like a good idea to go over a little bit about EQ’ing for these very different beasts, even if they may have been played by the same person!

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