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Preface Chapter 1 - The All Important Equipment Chapter 2 How to Set Up a Recording Studio That Works for You Chapter 3 - Simple Recording Strategies: A Cheat Sheet for a Great Sound Chapter 4 - Tried and Tested Stereo Recording Techniques Chapter 5 - How to Record Drums that Rock! Chapter 6 - Groovy, Tight and Powerful: A Bass to Bring Home Chapter 7 - The Zen of a Shimmering Acoustic Guitar Chapter 8 - Dialing In that Perfect Electric Guitar Sound Chapter 9 - The Ultimate Guide to Great Vocal Recordings Chapter 10 - Dueling Pianos: Everything You Need to Know for a Perfect Piano Sound Conclusion About the Author About Audio Issues

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Preface

Recording music is immensely enjoyable, but it can be overwhelming. In my years of recording music and writing about the various recording techniques, Ive come across many simple tips and tricks that make your recording life easier. Recording has a scientific foundation, but its implementation is pure art. This guide is intended to be the end-all guide to simple, easy and effective recording techniques.Even though there are no 100% correct recording methods, there are many techniques and strategies that work better than others. In the following chapters Ill aim to show you the shortcuts to great recordings, the simple tricks and techniques that always work. Experimentation is up to you, but if youve got a great starting point then it becomes much easier to build on. From getting the right equipment, setting up your home recording studio, to nailing a great sound out of ANY instrument, the tricks and techniques are here inside, simple and easy for you to use.

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pter 2 How to Set Up a Recording Studio That Works Chapter 1 - The All Important Equipment

Chances are you either have a home studio already set up or dreams of it in your head. Everyone today is able to create their own little recording space for their productions. But dont just buy the equipment like we discussed in chapter 1 and be done with it. Your most valuable equipment breaks down into two things.

Your Room and Your Ears

You dont want your room interfering with what you are hearing. By treating your room acoustically, both with absorption and diffusion you will create better recordings and mixes. By reducing reflections and flattening the frequency response of your room to the best of your abilities, you will hear the instruments better; you wont have echoes and reflections bothering your sound, and you will have a more controlled work space.

Everything Within Easy Reach - Image by: Ranch Records

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Lets assume you have a room at your disposal that you can use as your studio. Some people have to make do with a corner in their bedroom, but in order to demonstrate how to have a good working home studio, well assume you have the whole room at your disposal. If you are like most home recording hobbyists, you will be doing all of the work from recording instruments to mixing and mastering in this room. This has some disadvantages but nothing you cant work with. Try to separate your room into two different areas: the control room and the recording space. I have self-made baffles out of carpet foam and blankets that create a fairly comfortable and quiet recording area in the corner of my room. The control room area consists of my desk three quarters from one of the end walls. This is where I do all of my mixing, and I also have a keyboard controller at one end of the desk. Since I dont need to worry about noise from my computer or extraneous noise from

outside when Im working with MIDI, its very comfortable to set up your controller by your computer keeping everything within easy reach. Recording gets a little more tedious, especially when Im recording myself, since I have to get situated at the recording space and hit RECORD at the same time. But the benefits of having a quiet and comfortable recording space make up for it.

Recording in a Roomy Room

You can avoid the room sound by setting up baffles and blankets around yourself and your instrument when you record. Also, if you use directional cardioid microphones at a close proximity, you further neutralize the room sound around you. A microphone thats close to an instrument picks up less room noise than ones that are situated at a farther distance. These recording might sound pretty dull and dry once youve recorded them, but you will have more room to make them sound better in the mixing phase. You can add a nice reverb to a dry recording in order to create a great final sound, but adding a good reverb to an already roomy sounding recording will just make it sound worse. By modeling your recording space and control room so that everything is within easy reach, youve created a very efficient
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work space. Having Midi Keyboards by your desk, or a guitar within easy reach are two strategies that help ideas flowing without unnecessary distractions and pauses. The monitors need to be in an equilateral triangle to your mixing position. Thats the correct way to set up your monitors. You want both of them at the same length from your ears, otherwise you will feel like one is louder than the other. This is a preview of this chapter. Read the full version at www.RecordingStrategies.com

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In the last two chapters weve been looking at the various things we need before we start getting some quality recordings down. Having the right equipment and a well-treated room is all a factor in getting your recordings to sound as good as possible. Even though you could technically record whatever you wanted with the cheapest gear in a badly sounding room, I doubt you would like to release those recordings as an album. Rather, by taking the care to have all the equipment we need and a fairly controlled room, we are now able to focus on getting the best sound at our disposal.

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Before you start recording any instrument, take care to check it out and make sure its in its best condition. You dont want to rush into things and record an instrument that buzzes or makes annoying noises. Set up your instrument and make sure they are all in their best condition. This means restringing the guitar if the strings are starting to sound dull. This means changing the drum heads if they are worn out. This means setting up the intonation of your guitar or bass if they go out of tune on the higher frets. If youre recording vocals you should make sure the singer is in good shape and doesnt have a sore throat, a cold, or something else that could affect his singing. Hangovers are especially devious. You might not notice that theres something wrong, but you wont be getting the best performance from the singer. Some guitar effects make the guitar amp hum. Make sure

they are all routed correctly, and if possible use a noise gate to reduce the hum. Other times its just a matter of correctly plugging the effects together. Other small things you wouldnt necessarily think of are other noises instruments make. For example, listen to the really squeaky bass pedal on Led Zeppelins Since Ive been Loving You. Things like this are overlooked many times, so before you start recording make sure no annoying noises, squeaks or buzzes make it onto your recording.

What Kind of Sound Are You Looking For?

You might also plan the type of sound you are looking for before actually recording anything. Depending on the genre you might be looking to record things differently. Jazz drums might not need the same amount of microphones as a prog-metal band would. Similarly, a calm, finger-picked acoustic guitar might need a different approach than a hard hitting strummed guitar. Think of your microphones as your paintbrushes. You can create any type of sonic palette from your microphones, but the genre of the music tells you what kind of painting you will end up with.

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niques, youll never know if that specific technique is the best. Try two, compare them and choose the better one. First of all, there is no one correct mic placement. There are guidelines and standards, but no golden rules. Sure, I might offer you tips for where to put your microphone, but in the end its up to you to move the mic around to get the sound you are looking for. You dont realize this until you try it, but just moving the microphone a few inches here and there can make a noticeable difference in the overall sound. I understand the time constraints many people have. You dont always have time to experiment and checking every inch for a difference seems counterintuitive when youre trying to get something down fast. This is why we have these so-called standards, where so many engineers have done the same thing with great success that weve grown accustomed to using these tried and tested techniques. If youre in a time constraint, at least try two different positions. That way you have something to compare. If you never try to experiment, even with only two mic tech-

Listening
If youre not a musician you might read a book on how to mic up a certain instrument and then follow those instructions. However, you can also use them as guidelines and start by doing one of the most important things of all: Listening. Listen to the instrument that youre going to record. Where does the sound come from? Does it plug into an amplifier or is it an acoustic instrument that has a sound-hole, such as an acoustic guitar. Is it loud like a drum or soft like a plucked nylon string guitar? Not only does listening help you understand why that book you read said that this was a good way to record(i.e. Oh, the sound is coming from the sound hole but its very thick so its better to put the microphone a little further up the neck) when reading about acoustic guitars, but listening will also give you an independent view on each instrument and how

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they sound. Follow great guidelines, but also use your ears when youre working. They need training just like your brain needs the recording knowledge. Together theyll go far. This is a preview of this chapter. Read the full version at www.RecordingStrategies.com

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In this chapter, well be looking at all those stereo microphone techniques. These techniques are fun to set up and produce some great sounds, but some additional care should be used in order to avoid unnecessary phase issues. Stereo microphone techniques are great to use when you want an extra dimension to a specific instrument. Maybe one microphone just isnt cutting it, and you want to hear the instrument in your monitors as youre hearing them in your room. Then its time to bring out the stereo and give your recordings that extra stereo dimension. An acoustic guitar with one microphone might produce an OK sound, but two microphones capturing the full stereo richness is just so much better. Now, lets go through all the usual stereo microphone techniques that have become standard in the industry. There are many different types of stereo techniques available. Depending on your needs you might need a coincident pair capturing a close performance or a spaced pair to capture a room sound.

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The X/Y Technique

Stereo microphone techniques are usually used to capture a full sound, or a live performance where you want to reproduce the full frequency spectrum. Therefore, the use of condenser microphones is highly recommended. You could use dynamic microphones but they just wouldnt capture the full frequency range of the performance like condensers would. Additionally, condensers react faster to transients meaning that condensers will more accurately reproduce the dynamics of the performance. The X/Y technique is one of the simplest stereo recording techniques out there. Its simple to use and hard to screw up. The X/Y technique uses two condenser microphones touching each other at a 90-120 angle. By keeping them as close to each other as possible you reduce any phase difficulties, resulting in a pleasant stereo sound. Its best to stay with a ninety degree angle with the majority of instruments and applications. A wide angle is preferable if you have a large instrument or an ensemble of sorts. But if you widen the angle too much you run the risk of losing the center image of the instrument, only capturing the X/Y Technique. If you widen the angles too much neither microphone picks up the center. Image by danja sides.

Coincident pairs are the stereo techniques where the microphones are positioned close to each other. These techniques have the advantage of being phase-free if you set them up correctly. Since both microphones are almost in the same place, the sound waves arrive without any time delay. This causes both microphones to pick up the sound of the instrument at the same time. Phase problem free.

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By panning both microphones hard left and hard right, you get an easy but great sounding stereo sound. Just make sure that when you pan the microphones you pan them to the right side. One of the mistakes is panning the microphone thats on the right to the right side, and vice versa. But the right side is actually pointing toward the left side of the instrument so it really should be panned to the left. Since both microphones overlap in the center you get a strong center sound. Add the two sides to the mix and you get a nice full range stereo sound. Additionally, when you switch over to mono you dont lose that powerful center sound. Basically point the instrument at the center of the microphone array, or at a forty-five degree angle from each microphone to get a good solid stereo sound. This is a preview of this chapter. Read the full version at www.RecordingStrategies.com

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Recording drums is one of the most challenging tasks an engineer can face. One of the requirements of my final project back at SAE (School of Audio Engineering) was that it had to have drums. The school wanted you to know how to record drums, or at least be familiar with every aspect of recording drums. Now Ill try to condense all those lessons I learned back then, as well as the other ones Ive learned since then.

Image by: Patrick Woodward

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The easiest way to get a good drum sound is to have a drum kit thats actually in tune. Many beginners overlook the importance of tuning the drum kit. Tuning isnt only for guitars and other instruments. Drums need to be tuned just as well. A welltuned drum kit needs much less work on the engineering side than a bad sounding one. Its a bit more difficult to tune a drum than a guitar. Unless youre a really good drummer (most engineers arent), then you will need a tool like a drum dial to get an accurate tuning. If you are replacing the heads of all your drums and re-tuning them, follow this guide: 1. Once youve put the heads on, push down on the head to stretch them out. You dont want to tune a head that hasnt been stretched out. It wont stay in tune. 2. Using a drum key, tighten the lugs in a star pattern until theyre not loose anymore. Dont tighten them much, just enough so that they arent rattling.

3. Put the drum dial an inch or so away from each lug and measure the pressure. Aim for 80 on the drum dial for each of the higher toms and a little lower on the floor toms. 4. Tighten the lugs in a star pattern until youve accomplished the desired pressure at each lug. 5. Now lightly tap on each part of the drum hit, about one inch from the lug to hear if all parts of the drum sound the same. 6. If one part of the drum sounds higher or lower than all of the others you need to modify it so that each place has the same sound. This will give an even tone to the whole drum. 7. Repeat for all the other drums, both top and bottom heads. If your drums all sound in tune but they ring too much you can dampen them with Moongels or tissue paper and tape. You dont want toms ringing too loudly; you just want a tight tone that decays rapidly but naturally. When it comes to the kick drum, you dont want it to be empty. Dampen the kick drum by stuffing some blankets into it. This tightens the sound up considerably, and will give you a punchier and less resonant tone.

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Tuning the drums is one of most important things to do to a drum-kit before recording. Tune them correctly and your job will be easier.

Like youve undoubtedly noticed, not all rooms sound alike. A large concert hall sounds significantly different than your living room; therefore, your drums are going to sound different depending on the room theyre recorded in. No one room is the most desirable of the bunch. The reason why we have so many different reverb modes is that we all have different tastes in what a good room sounds like. Some prefer halls, other prefer rooms. The room youre recording in is going to have some effect on your drum sound. How much depends on the microphone technique you are using. Close mics are relatively unaffected compared to overhead and room microphones. Room microphones are affected especially by the room around them, not surprisingly.

I realize that you might not have an abundance of room types to choose from, but if you have access to nice sounding studio rooms or natural sounding halls then by all means give them a go. Living rooms and bedroom studios are usually the worst choices when it comes to tracking drums. Low ceilings, tight walls and carpets dont do much for a great drum sound. High ceilings, larger rooms and hard floors can really make a drum sound come to life. If you are stuck with your carpeted living room, then dont despair. There are a few different ways to jazz up a drum-kit to make it sound a little better. 1. Create reflective surfaces If your living room has carpet then putting down a few panels of plywood or any hard surface in front of the kick drum will add some liveliness to the kick drum. It will make the kick drum sound a little bigger. 2. Minimize reflections into the overheads Use absorption to try to shield reflections coming back into the overhead microphones. Try to shield the microphones in such a way that they are really only listening to the drums themselves and not the room around them.

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3. Use close miking A technique like the recorderman overhead method, which I talk about below, is a great way to reduce the sound of the room in the overhead mics. You might end up with a very dry drum sound, but it might sound pretty punchy as well. Spice it up during mixing with some reverb and you might fool anyone that it was recorded in your living room. 4. Create a drum tunnel - If you have plywood lying around (who doesnt right?) then you can extend the bass drum by creating a tunnel that extends out from it. After youve created a hard surface tunnel you can lay some blankets over it to tighten the sound and minimize bleed from the outside. Now you can place a kick drum mic at the end of the tunnel. Since bass frequencies are longer, there will be more low-end energy a little farther from the kick drum. And with the drum tunnel you can mic it up without worrying about the microphone picking up all the other drums. These are just some of the ways you can get away with recording drums in your less than ideal space. And if you can get a great drum sound in a lousy sounding space, just imagine what you can do in a great sounding room! This is a preview of this chapter. Read the full version at www.RecordingStrategies.com

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Dealing with the low-end is tricky. Its like sand. It gets everywhere when you only want it to stay on the ground. Bad analogies aside, low-end is pretty tricky to deal with, and during recording there are some things you should consider when youre dealing with bass instruments in general. A good friend of mine, engineer and producer Jim Pavett, thinks the bass performance is the most important aspect of a song. The right bass line can really make a song or a groove come together. If you have the wrong bass line, or an unsteady groove, things can fall apart pretty easily. Therefore, choosing the right bass line, or right bass player is of the essence when youre recording the all- important foundational instrument. You dont want a sloppy performance. All youll end up with is a wishy-washy foundation that just never feels right.

Chapter 2 - How to Set Up a Recording Studio That Works for You

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If the bass player cant seem to get into the groove, send him home. Make him practice. If he cant play his part he needs to learn how. If youre absolutely certain that you can just fix everything during mixing then fine, just have him play a few takes and then send him home so you can edit. But if the bass player cant play his part correctly, youre never going to end up with a good foundation or a groovy song. Also, make sure the bass lines fit the song. Sometimes a band has been playing together for a while in a rehearsal space where everything kind of blends into one. If you notice weird notes that clash with the rest of the production, make sure to notify the artist. Just like you dont want a bass part that cant lock with the groove of the drums, you also dont want a bass part that clashes with the harmonic content of the guitars or other instruments. Now, lets get technical.

Bass is a very powerful frequency, and the room around the bass amplifier can easily muddy up really quickly. Try to avoid placing a bass amp in a very reflective room; you want to minimize all the reflections you can. Additionally, the more bass trapping you can do, the better. The more bass traps a room has, the tighter the bass will sound in the room, and the cleaner a bass will be recorded. Even a bunch of sofas, rolled up blankets and thick mattresses can help reduce wandering bass frequencies from muddying up your signal.

This is a preview of this chapter. Read the full version at www.RecordingStrategies.com

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First things first. A crappy sounding guitar is always going to sound like a crappy sounding guitar.* If youre serious about recording guitar, then make sure you have an instrument worth recording. *Actually, there is one exception to this rule. Kurt Cobain managed to make an out-of-tune shitty sounding acoustic guitar sound amazing on not one, but two songs. Polly and Something in the Way were both recorded with his pawn shop guitar, and they sound awesome. But youre not Kurt Cobain so stick to a good, in-tune guitar.

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Before you even hit record, do this. Im not kidding. If you dont do this then your acoustic guitar will suffer for it. Ill wait. 1. Re-string your guitar. - If youre recording an acoustic that has had the same old strings for the last two years, theyre going to sound dull and muffled. All the high-end is lacking and that sheen of brilliance has gone and is never coming back. Restring it and suddenly the instrument will come back from the dead. Some people like old, dead strings but I dont recommend it. You can always cut a little brilliance from your recording during mixing, but youll never add brilliance to an already dead sound. 2. Tune your guitar Do I really need to say this? Before you start recording guitar, please tune it. And if youre working with a capo, make sure to tune the guitar with the capo on. Some capos tend to pitch the guitar a little sharp or flat so tuning with the capo on is recommended.

Youve probably heard an acoustic guitar a hundred times before. You know what it sounds like. But have you ever wondered how each part of the instrument makes up the sound you hear when somebody is playing it? The brilliance of the strings, the resonance of the wood, and the amplification of the body all contribute to what you perceive to be an acoustic guitar sound. Thats what you have to keep in mind when you point your microphone and start recording. Your microphone is going to pick up the certain characteristic of the area where you point, so getting the best soundscape possible into your microphone is your best bet for a great acoustic guitar recording. And this doesnt only apply to acoustic guitars, but really all instruments.

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Different Spots on the Acoustic Guitar

The acoustic guitar can roughly be divided into three different sonic spots. 1. The Highs - Pointing a microphone by the first frets will capture the high-end of the strings. Since most of the body of the instrument comes from, well...the body, a microphone placed at the first fret will sound brilliant, but lack everything else. Dont underestimate the advantage of capturing the string sound. In combination with other microphones, it can sound quite good. 2. Low-End A microphone too close to the soundhole will produce a boomy sound, which is usually unusable. Additionally, a microphone pointing at the back of the guitar will also have some low-end character. 3. Mids and body A microphone placed midway between the end of the body and the strings will produce a sound with a lot of middle range. Sometimes this is desirable, especially in conjunction with a string microphone to get a full sound, even in stereo, but it can also be a little too mid-range-y.

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An electric guitar sound is the most diverse type of sound in music. The various tones of the guitar go in circles; at one point a particular sound is THE sound to have on your album; the next decade its embarrassing to even own the same effects. But, whatever the sound is your guitarist wants, there are some audio production techniques that apply, even though the tones hes producing could be radically different. First, lets look at the guitar itself. I wont school you in the various types of guitars and how they sound. A Les Paul is going to sound significantly different than a Telecaster; the former is going to sound fatter and great for hard rock, the latter has more twang and is perfect for country. That said, it doesnt mean you cant use any type of guitar for any type of genre. Keep in mind that the solo to Stairway to Heaven by Led Zeppelin was played on a Telecaster, not the Les Paul Jimmy Page is so famous for playing.

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Most guitars will have two or three pickups depending on the model. Some have extravagant pickup settings with more tone selection than anybody ever needs, and some only have one. But as a general rule, two or three are usually at your selection. The Bridge Pickup This pickup has more treble and is harsher. Its great for hard rock rhythm and piercing solos. The Neck Pickup The neck pickup produces a warmer sound that has more low-end. It has more smooth lead lines and chords. Example: The intro to Sweet Child of Mine by Guns n Roses is played through the neck pickup of a Les Paul. The Middle Pickup Not all guitars have a middle pickup like the Les Paul. But the middle pickup usually produces a smoother sound that combines a little bit of both the neck and bridge pickup. Mark Knopfler of Dire Straits uses the middle pickup often in his playing, and his Strat rhythm playing has a very smooth and mellow sound to it.

Out of Phase Positions Many pickup selectors allow you to go between pickup positions. The second pickup position on a Stratocaster, between the bridge and middle pickup, is a favorite of funk guitarists. It produces a thinner out-of-phase sound that lends itself well to the funk guitar rhythms; one example being Nile Rodgers of Chic. Now that weve gone over the characteristics of the electric guitar, lets move onto amps. Lets just say the different characteristics of all the different amplifiers in the world would fill an average sized book. And it would probably be pretty boring. When youre recording a guitarist, chances are he already has his amp and his sound. Your job is to recreate that sound into your session. The amplifier has a lot to do with that sound, so lets look at the where you should point your microphone. This is a preview of this chapter. Read the full version at www.RecordingStrategies.com

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Oh vocals. Its the most important thing in popular music so you need to get it right. This means dealing with the artist, setting up correctly, using the best microphone as well as dealing with in-the-moment situations when they appear. Hopefully, after reading the following chapter, youll be well-versed in the ways of recording vocals.

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If you dont have the advantage of a fully treated vocal booth, then there are some things you can do to minimize the home-sound from your home recording. Eliminating reflections is a big issue to getting a great vocal sound. You dont want the vocal to bounce around the room and end up in your microphone. You only want the vocal sound from the mouth of the vocalist. There are two types of reflections you need to deal with, from the front and from the rear. If you are using a cardioid microphone pattern then reflections coming back toward the microphone wont be picked up that much. That said, you shouldnt dismiss trying to eliminate them as much as possible. I use the SE Reflexion filter around my microphone to eliminate reflections coming from behind and the sides. The bigger thing to worry about is the reflections coming from the back wall. When your vocalist sings, the sound waves will bounce from the wall in front of him and then bounce back to

the wall behind him, and finally bouncing from there into the microphone itself. This will color your vocal sound with all that unnecessary room sound you dont want. The way I have it set up in my home studio is I have the reflexion filter on the stand guarding from any reflections coming from the front walls, and then I stand in front of a well-padded wall that absorbs the reflections bouncing into it. That way I get a fairly clean vocal sound without any of that pesky room sound. You dont need the Reflexion filter if you dont want to spend the money. Try putting up microphone stands around the microphone and drape them with thick blankets. Do the same thing with the back wall. Try to create a padded area of blankets or thick absorptive material behind you. Itll eat most of the reflections, resulting in a more professional vocal sound.

SE Reflexion Filter - Image by: rockmixer

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The only downside to using blankets is that it wont reduce much of the low-end reflections. Youre going to have to minimize them either by using your mics high-pass filter or in the mixing phase with subtractive EQ.

The reason why so many people recommend a large diaphragm condenser is because it works on most things-especially vocals. The full range of the condenser means that its the most accurate in capturing the full sound of the vocal. You can also use dynamic and ribbon microphones. Dynamic microphones are great for rock vocals and ribbon microphones can have a soulful sound to them. When Michael Jackson was recording Thriller the engineer needed to use a dynamic microphone on his vocals because he moved around too much. The condenser microphone was too sensitive to his constant dancing around the mic so the engineer swapped it out for a more directional and less sensitive microphone that only picked up his vocal. The result? An awesome sounding track called Gotta be Starting Something.

This is a preview of this chapter. Read the full version at www.RecordingStrategies.com

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Chapter 3 - Simple Recording Strategies: A Cheat Sheet for a Great Sound

To explain the complexities of recording piano, I interviewed master Slau at BeSharp Studios, New York City. Slau also runs the Sessions with Slau, a really great podcast about what goes on behind the scenes at his recording studio. Listen to the interview by clicking on PianoRecording.mp3 in the download file that you received when you purchased this ebook. This is a preview of this chapter. Read the full version at www.RecordingStrategies.com
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In these ten chapters Ive gone over some of the most widely used recording techniques in classic and modern recording-everything from the old scientific stereo recording methods to the simple vocal recordings of the home studio. How you use and build upon these techniques is up to you. You might not have need for complicated stereo techniques, and thats fine. Take what you need from this book and apply it to your future recordings. Simple hacks, shortcuts and tricks make life easier. Recording is complicated enough as it is. It was my intention to simplify the process to make it even more enjoyable for you, creating a reference guide of simple to use tips and tricks to make your future recordings even greater. I hope you enjoyed this special tease preview of Recording Strategies. Please grab the full version at www.RecordingStrategies.com

Check out Audio Issues for constantly updated new content on everything related to audio. Subscribe to the newsletter for updates on whats going on at the site, as well as the occasional special offer and deals. Lastly, you can contact me at bjorgvin@audio-issues.com, follow me on Twitter at @audioissues or become a fan on Facebook by liking the Audio Issues page (facebook.com/audioissues).

Need Help with Mixing?

Check out Mixing Strategies at www.MixingStrategies.com

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Hi. Im Bjrgvin Benediktsson. Im an audio engineer, musician and writer. Im an Alumni from the SAE Institute and have worked in the audio industry since 2006. Since then, Ive been involved with projects in the field of live sound for many of the biggest events in Iceland as well as playing, recording and mixing a wide variety of music. Ive written countless tutorials on audio production on numerous blogs and websites, as well as at my personal website, Audio Issues. Additionally, Ive taught classes on music production and audio engineering, teaching the technical side of recording and mixing in addition to hosting workshops on live sound.

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Audio Issues strives to give audio enthusiasts a solid understanding of the various aspects of producing music. Audio Issues supplies easy to use, practical production tips about music and audio recording. We offer you everything you need to know when it comes to producing your own music in your home recording studio, recording instruments as well as mixing and mastering.

Throughout this book Ive used a few affiliate links to recommend products that might be of interest to you. Sometimes these are links to specific products on Amazon, other times the links direct you to products I believe in and endorse proudly. I make a commission from these links at no additional cost to you so if you buy anything through this book I thank you for supporting the continued existence of Audio Issues.

Copyright Audio Issues 2012. All Rights Reserved.

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