This story first appeared in Trust Me, I’m a Scientist, August 5th, 2013.
In January of 2011, singer/songwriter Gabriel Mintz performed at a popular Seattle music venue. At the end of the night, the venue gave Mintz a printout of incomes and expenses associated with the show.
The gross revenue Read more...
Even if the name Diego Stocco doesn’t ring a bell, chances are that you know his work.
If you have ever used Spectrasonics’ instruments like Omnisphere, Atmosphere, Stylus or RMX, you’ve likely been working with some of his creations, as Stocco serves as one of their principal sound designers and Read more...
Saturday, August 20th, 2016 marked the 3rd Annual Pensado Awards, the second of which I’ve had the pleasure of attending for SonicScoop.
This year started off with a pre-ceremony VIP soiree held in the “Main Street” area of Sony Pictures Studios in Culver City, under a setting California sun. Upon Read more...
Here was a mix project that Ryan Kelly could really get excited about.
This is one multitasking engineer, whose remarkably diverse credits range from Beyoncé, Matisyahu, Nico Muhly, Opeth, Slash, Valgeir Sigurðsson, and Tom Morello to film scores like Elliot Goldenthal’s A Midsummer Night’s Dream, and touring the world live Read more...
In this classic Trust Me, I’m a Scientist post from August 8, 2011, Scott Craggs of Old Colony Mastering provides an easy pre-mastering checklist to help improve any mix. For even more on mastering, try the new full-length course from SonicScoop editor Justin Colletti, Mastering Demystified.
As a mastering Read more...
Chicago-based Dizengoff Audio has created quite a buzz for itself by by making shockingly affordable recreations of classic gear with mostly locally-sourced components.
You could think of it as something like “farm-to-table” audio, and the care taken by this new outfit’s designers and builders really shows in the quality of Read more...
Located in North Hollywood, California, Bergatron Music & Post boasts a large selection of analog outboard gear, microphones, and instruments. But the gear isn’t what brings people to this small, sharp-looking studio—it’s all about the experience.
Hidden in the backyard of Brian Starley’s home, past the garden vegetables and inviting Read more...
In many ways, the studio economy is a rental economy across the board. Many studios rent their spaces from a landlord. Artists and producers that don’t own a studio, or want to use a different one than their personal facility, rent a recording/mixing/mastering in the form of studio time. They Read more...
This story first appeared in Trust Me, I’m a Scientist, August 1, 2011.
Joy Division was something of an anomaly.
Existing for fewer than four years and releasing only two albums in 1979 and 1980, the band continues to remain intriguing, relevant, and influential to new generations of musicians and Read more...
When it comes to recording and mixing acoustic drums in the context of modern, punchy record production, a key difficulty is sufficiently isolating individual drums for processing and beefing up.
Bleed (or “spill”) is that natural tendency of a microphone placed next to say, a snare drum, to pick up Read more...
