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Phil Ward talks to Julian Rodgers about the fundamental challenges of loudspeaker design, from cabinet construction and bass response, to impedance, directivity and point-source designs. They explore how cost, materials, DSP and advances in driver technology determine the compromises involved in creating accurate studio monitors. Chapters00:00 - Introduction01:03 - Why Speakers Sound Different03:19 - The Impedance Of Air04:19 - How Cost Determines Outcome09:19 - Bass Response Challenges12:03 - The Benefits Of Porting14:52 - Different Cabinet Designs17:22 - Point Source22:29 - Research And Design Changes28:02 - Development Time33:55 - Digital Technologies39:47 - Favourite Speaker #MordauntShort #Genelec #PMC #Amphion #AsciLab #PURIFI #ATC #LAcoustics #AdamAudio #KiiAudio #DutchAndDutch #HOLOPLOT #PSIAudio Phil Ward BiogPhil Ward is a bassist, loudspeaker designer, technical writer and journalist who has worked in the consumer and professional audio industries for more than three decades. He began his career at Mordaunt-Short before going on to work in design and project management roles at Canon and Naim Audio, and has worked as a freelance consultant and writer since 2001. Phil is best known to Sound On Sound readers for his monitor reviews, and has also written extensively for hi-fi, professional audio, music and design publications. He is also a recording engineer and producer, working from his home studio near Brighton.https://musicandmiscellany.com/ Julian Rodgers BiogJulian Rodgers is a freelance writer and audio engineer with a background in live sound. After many years working in education introducing new users to Pro Tools, he now lives by the sea in West Cornwall, where he plays keyboards in a couple of bands. He also plays bass and guitar equally badly, and remains an enthusiastic collector of microphones and opinions about all things audio.https://www.linkedin.com/in/julian-rodgers-04621926 Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts

Marcus Leadley talks to Suzie Cross about his new book, Field Recording: A Practical Guide, exploring the techniques, equipment and creative approaches to capturing sound in the field. From microphones and denoising to electromagnetic and underwater recording, Marcus shares practical insights from more than 40 years of experience. Chapters00:00 - Introduction00:47 - Reasons For Writing The Book03:04 - A Background In Field Recording05:36 - Commonly Used Microphones07:05 - Discovering Hidden Sounds08:38 - Different Microphone Use Cases13:04 - Digital Denoising Tools14:25 - Using The Sounds In Compositions16:03 - Making Creative Decisions While Recording19:25 - Electromagnetic Detectors25:04 - Underwater Recording With Hydrophones29:18 - Managing Unpredictability30:52 - Allowing For The Unexpected32:36 - Analogue Pitch Shift And Time Stretch36:19 - Contact Microphones40:27 - Where To Hear Marcus' Work Marcus Leadley BiogMarcus Leadley is a field recordist, sound artist, composer, curator and academic specialising in field recording, soundscape composition and environmental sound. He is Head of the Electronic Music Studios at Goldsmiths, University of London, where he teaches experimental sound and Sonic Arts. His research interests include phonography, soundscape composition, acoustic ecology and ecoacoustics, and his artistic practice includes field recordings, soundscape compositions, installations and collaborative projects. Marcus has been creating work based on field recordings since 1997 and also teaches field recording and soundscape composition through online courses and practical field trips. Before moving into academia, he worked as an engineer, producer and music technology journalist, managed commercial studios in Australia and edited Guitar & Bass magazine. He holds an MMus in Studio-Based Composition and a PhD in Sonic Arts. https://www.marcusleadley.com/https://www.crowood.com/book/field-recording/https://www.facebook.com/marcus.leadley Suzie Cross BiogSuzie Cross is an award-winning creative producer and multidisciplinary artist whose work explores connections between people, places and the natural world. Her practice spans sonic art, eco-acoustics, immersive installations, film, projection, poetry and electroacoustic composition. Her film Newland: New Vision for a Wilder Future, made with Dave Lynch, won Best Climate Film at the 2021 Research in Film Awards and led to an invitation to speak at COP26. A Clore Fellow, Suzie was awarded the Cultural Leadership Fellowship for Global Environmental Impact in 2018. She is Artistic Director of the Land Lines research project at the University of Leeds, Sound Artist in Residence at Manchester’s Mayfield development, and helps run SynthFest UK for Sound On Sound. She is also a member of the Frozen Music Collective, exploring neurodiversity and the relationship between the human brain and technology. https://suziecross.wordpress.com/https://www.instagram.com/suzieloves432/https://x.com/TheSuzieCross Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts

Lincoln Grounds joins Julian Rodgers to discuss guerrilla recording techniques, exploring how a focus on authentic performances, unconventional spaces and adaptability can matter more than technology and complex setups when creating compelling recordings. Chapters00:00 - Introduction 01:09 - Definition Of Guerilla Recording 05:59 - Not Over-Indulging In Tech 11:14 - Getting A Good Performance Quickly 16:18 - Recording Bands In Their Own Element 19:50 - Working With Spill 30:18 - Headphones And Clicks Where Needed 33:10 - Post Production Techniques #BozDigital #ProTools #FabFilter #NoiseWorks #iZotope #Waves Lincoln Grounds BiogLincoln Grounds is a composer, producer, recording engineer and owner of Maverick Music. His work spans production music for TV, film and advertising, alongside live performance and recording projects with artists including Sister Sledge, Cockney Rebel and Kid Creole. He has worked in a wide variety of recording environments, from improvised setups to world-renowned studios including Abbey Road and Blackbird Studio in Nashville.https://x.com/lincolngrounds Julian Rodgers BiogJulian Rodgers is a freelance writer and audio engineer with a background in live sound. After many years working in education introducing new users to Pro Tools, he now lives by the sea in West Cornwall, where he plays keyboards in a couple of bands. He also plays bass and guitar equally badly, and remains an enthusiastic collector of microphones and opinions about all things audio.https://www.linkedin.com/in/julian-rodgers-04621926 Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts

Eddie Bazil explores a range of advanced effects techniques, using practical audio examples to demonstrate how creative combinations of delays, reverbs, harmonisers, flangers and phasers can add depth, movement and texture to your productions. Chapters00:00 - Introduction02:43 - Example 1: Multi-Tap Delay05:43 - Example 2: Granular Resynthesis08:10 - Example 3: Wrapping Reverbs12:21 - Example 4: Adding Frequencies With A Harmoniser16:10 - Example 5: Flangers For 3D Motion20:43 - Example 6: Flanger, Phaser and Reverb #EventideUltraTap #SoundtoysCrystallizer #IKMultimediaCSRPlateReverb #AcusticaAudioRICE #EventideH949Harmonizer #BlueCatFlanger #InitialAudio808Studio2 #SoundtoysPhaseMistress #GForceM-tronProIV #EventideBlackhole Eddie Bazil BiogEddie Bazil launched his music industry career at the age of 17 as a synth programmer for a range of Electro / New Wave bands, including Art Of Noise, Spandau Ballet, Pet Shop Boys, Bobin, Paul Dee, DJ Krush, DJ Shadow, Jets Orchestra, and many more. By his 20s, he was working as a sound designer for Akai, Roland, Emu/Ensoniq, eventually signing on exclusively with the latter. Later, due to a growing demand for software instruments and libraries, Eddie began developing libraries for various software manufacturers, including Native Instruments, Kiesel, Sound Effects Library, Rob Papen, Arturia, and Propellerheads. During this time, he trained in music production. He soon gained several prominent contracts working with some notable artistes such as Busta Rhymes, Greensleeves, 9 Bar, SFP, Sleeveless, Chris Campbell and Gam Productions. He contracted to Island Records and Chrysalis as a producer and remixer, and was commissioned to write the score for Macbeth that ran at 2 Way Mirror at Alexander Palace for the Cambridge Shakespeare Company. This led to him offering educational workshops and classes, and becoming a contributing creator and Forum moderator for Sound On Sound. Recently, he was invited by the Recording Academy to become a professional member, approved educator, and mentor for their member base. Eddie now concentrates on providing private sound design and mixing/production tuition, and creating content for Sound On Sound magazine. https://eddiebazil.co.uk/ Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts

In this episode, Eddie Bazil breaks down the different types of EQ, explains their most common uses in mixing and production, and demonstrates how they shape and enhance sound with practical audio examples. Chapters00:00 - Introduction00:48 - What EQ Is And Different Types01:33 - Active And Passive02:45 - Linear Phase And Minimum Phase03:46 - High-Pass and Low-Pass Filters04:36 - Example 1: Using Synth Filters06:47 - Common Functions Of EQ07:27 - Example 2: Shaping A Kick Drum10:31 - Example 3: Rebalancing An Acoustic Guitar13:48 - Selecting The Right EQ Shape15:55 - Managing Redundant Frequencies18:15 - Example 4: Rebalancing A Mix #PultecEQP-1 #XferSerum #BozDigitalTransgressor2 #EventideSplitEQ #SonibleEntropyEQ+ #SSLNativeXSaturator #SSLValveComp #TokyoDawnTDRArbiter Track CreditsExample 2: from 'Puppet' by John Walden.Example 3: from James Perret.Example 4: from 'Another Way' by forester. Written, performed and produced by René Schneeberger.https://foresterdnb.bandcamp.com/musichttps://open.spotify.com/intl-de/artist/2BtzZiEDaReXLveskYtYkmhttps://soundcloud.com/foresterdnbhttps://cambridge-mt.com/ Eddie Bazil BiogEddie Bazil launched his music industry career at the age of 17 as a synth programmer for a range of Electro / New Wave bands, including Art Of Noise, Spandau Ballet, Pet Shop Boys, Bobin, Paul Dee, DJ Krush, DJ Shadow, Jets Orchestra, and many more. By his 20s, he was working as a sound designer for Akai, Roland, Emu/Ensoniq, eventually signing on exclusively with the latter. Later, due to a growing demand for software instruments and libraries, Eddie began developing libraries for various software manufacturers, including Native Instruments, Kiesel, Sound Effects Library, Rob Papen, Arturia, and Propellerheads. During this time, he trained in music production. He soon gained several prominent contracts working with some notable artistes such as Busta Rhymes, Greensleeves, 9 Bar, SFP, Sleeveless, Chris Campbell and Gam Productions. He contracted to Island Records and Chrysalis as a producer and remixer, and was commissioned to write the score for Macbeth that ran at 2 Way Mirror at Alexander Palace for the Cambridge Shakespeare Company. This led to him offering educational workshops and classes, and becoming a contributing creator and Forum moderator for Sound On Sound. Recently, he was invited by the Recording Academy to become a professional member, approved educator, and mentor for their member base. Eddie now concentrates on providing private sound design and mixing/production tuition, and creating content for Sound On Sound magazine. https://eddiebazil.co.uk/ Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts

Professional producers Chevy One and Gareth Young talk to Julian Rodgers about the advantages of a hybrid hardware and digital studio setup and how combining the two can streamline workflow and speed up modern music production. Chapters00:00 - Introduction 01:07 - Hardware In A Modern Hybrid Studio 03:47 - What Does Hybrid Currently Mean 07:31 - Benefits Of Having A Console 08:43 - Using Control Surfaces 14:54 - Matching Tools To Tasks 23:24 - On The Way In And The Way Out 31:46 - Recallable And Software-Integrated Hardware 37:16 - Hardware Vs Software Workflow #LA2A #Console1 #Audient #SSL Chevy One BiogAward-winning producer and composer Chevy has built a two-decade career across records, global brands and music technology. Operating a modern hybrid studio, he balances analogue commitment with digital flexibility. Recent work includes IKEA’s latest National Swedish campaign and product leadership at All Our Minds.https://www.linkedin.com/in/joseluismontoro https://audiocentralstudio.co.uk Gareth Young BiogGareth is the owner of Cube recording studios a residential studio in Cornwall where he has worked with clients such as The XX, Tom Misch and Sam Ryder. Gareth has recently co-written and produced Tom Meighan's top twenty debut solo album, ‘The Reckoning ‘ and as a writer/producer he has co-written and produced hits for the Sugababes, Appleton, Dannii Minogue, Ronan Keating and All Saints to name a few.http://garethyoung.comhttps://www.facebook.com/cuberecordingcornwallhttps://x.com/cuberecordinghttps://www.instagram.com/cube_recording Julian Rodgers BiogJulian Rodgers is a freelance writer and audio engineer with a background in live sound. After many years working in education introducing new users to Pro Tools, he now lives by the sea in West Cornwall, where he plays keyboards in a couple of bands. He also plays bass and guitar equally badly, and remains an enthusiastic collector of microphones and opinions about all things audio.https://www.linkedin.com/in/julian-rodgers-04621926 Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts

Eddie Bazil demonstrates creative uses of advanced automation as a musical tool in the DAW, showing how automation can add movement, expression and musical detail. The episode covers shaping arpeggiated parts, using MIDI CC for dynamic control, modulating vocal tracks and applying MIDI note expression to enhance performance. Chapters00:00 - Introduction01:49 - Setting Up Automation Lanes02:30 - Example 1: Adding ARP Movement04:51 - Example 2: Using MIDI CC For Velocity07:41 - Example 3: Modulating A Vocal Track 14:52 - Example 4: MIDI Note Expression In A DAW #gforce #imposcar3 #cubase #deviousmachines #infiltrator2 #cableguys #shaperbox #ovoxvocoder #eventide #blackhole See Also:https://www.soundonsound.com/techniques/using-phaser-effects-podcast Eddie Bazil BiogEddie Bazil launched his music industry career at the age of 17 as a synth programmer for a range of Electro / New Wave bands, including Art Of Noise, Spandau Ballet, Pet Shop Boys, Bobin, Paul Dee, DJ Krush, DJ Shadow, Jets Orchestra, and many more. By his 20s, he was working as a sound designer for Akai, Roland, Emu/Ensoniq, eventually signing on exclusively with the latter. Later, due to a growing demand for software instruments and libraries, Eddie began developing libraries for various software manufacturers, including Native Instruments, Kiesel, Sound Effects Library, Rob Papen, Arturia, and Propellerheads. During this time, he trained in music production. He soon gained several prominent contracts working with some notable artistes such as Busta Rhymes, Greensleeves, 9 Bar, SFP, Sleeveless, Chris Campbell and Gam Productions. He contracted to Island Records and Chrysalis as a producer and remixer, and was commissioned to write the score for Macbeth that ran at 2 Way Mirror at Alexander Palace for the Cambridge Shakespeare Company. This led to him offering educational workshops and classes, and becoming a contributing creator and Forum moderator for Sound On Sound. Recently, he was invited by the Recording Academy to become a professional member, approved educator, and mentor for their member base. Eddie now concentrates on providing private sound design and mixing/production tuition, and creating content for Sound On Sound magazine. https://eddiebazil.co.uk/ Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts

Helmuts Bems, Co-Founder and CEO of Sonarworks, joins Sam Inglis to discuss the findings of their recent AI survey. The conversation explores differing industry perspectives on generative versus assistive AI and provides insight into the extent to which professional musicians are already adopting these emerging technologies. Chapters00:00 - Introduction 00:33 - A Data-Driven Audio Company 04:56 - Assistive Vs Generative AI 07:36 - New Categories Of Tools 08:27 - Early Adoption Of AI Tools 12:50 - Negative Or Neutral Tensions 18:37 - Tackling Ethical Issues 21:25 - Where Music Production Is Heading 26:33 - The Impact Across Industries And Musical Genres 33:05 - Changes In Music Consumption 37:08 - How Technology Has Shaped Music 42:41 - AI As A Huge Industry Disruption For more insights and data read the related article: www.soundonsound.com/music-business/ai-music-tech-2026 Full Report (PDF): https://blog-uploads.nyc3.digitaloceanspaces.com/2026/01/ai-music-production-skills-report-2026-sonarworks.pdf Sonarworks Blog (Short Version): www.sonarworks.com/blog/research/future-music-production-human-producer-survey-2026 Sonarworks BiogSonarworks is an award-winning audio technology company specialising in sound calibration and audio personalisation. Founded in 2012 and headquartered in Riga, Latvia, the company develops patented calibration and AI-driven technologies that enable consistent, reference-grade audio across a wide range of listening environments and professional workflows. Sonarworks’ solutions are trusted by more than 300,000 studios worldwide and are widely used by audio engineers, producers and content creators. In addition to its professional studio tools, Sonarworks has expanded into consumer audio through its SoundID personalisation technology, which adapts sound to individual hearing profiles and preferences. The company licenses its technology to global audio and consumer electronics partners and continues to be recognised internationally for its innovation in precision audio and sound optimisation. https://www.sonarworks.com/blog/research Helmuts Bems (Co-founder, CEO) Biog Helmuts Bems is Co-Founder and Chief Executive Officer of Sonarworks, a leading audio technology company based in Riga, Latvia. He co-founded the company in 2012 and has overseen its strategic growth into a global innovator in sound calibration and personalised audio solutions, securing multiple financing rounds and international partnerships to expand its technologies across professional and consumer markets. Bems holds a Bachelor’s degree in Economics and Business Administration from the Stockholm School of Economics in Riga. Under his leadership, Sonarworks has been recognised for advancing precision audio technologies used by engineers and studios worldwide and has achieved notable industry accolades and commercial milestones. Driven by complex challenges, Bems combines strategic planning and team leadership with a commitment to advancing deep-tech innovation, and maintains personal interests in endurance sports and outdoor pursuits. Sam Inglis BiogEditor In Chief Sam Inglis has been with Sound On Sound for more than 20 years. He is a recording engineer, producer, songwriter and folk musician who studies the traditional songs of England and Scotland, and the author of Neil Young's Harvest (Bloomsbury, 2003) and Teach Yourself Songwriting (Hodder, 2006). https://www.soundonsound.com Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts

Paul White and Hugh Robjohns pick their software and hardware highlights from the gear they've reviewed in the last 12 months. Chapters00:00 - Introduction00:14 - Cranborne Audio Brick Lane Compressor03:56 - Soundtoys SpaceBlender05:40 - Braingasm Ocula 08:18 - Sub51 And Soundtrax Drop Pad09:16 - Red Panda Radius Ring Modulator10:40 - Source Audio Encounter Delay+Reverb11:45 - Electro-Harmonix Oceans Abyss13:05 - Sound Devices Astral ARX16 Receiver15:23 - Sound Devices Astral HH Transmitter16:31 - Sound Devices Astral TX Transmitter17:17 - RME ADI-2/4 Pro Converter18:34 - Newfangled Audio Articulate Audio ADSR 19:54 - Overloud THU v2 Guitar Amp Simulator20:37 - Grace Design m701 Audio Interface Gear4Music (affiliate link UK/EU only)Red Panda RadiusEHX Oceans Abyss Sweetwater (affiliate link North America only)Cranborne Brick Lane 500 Red Panda RadiusSource Audio EncounterEHX Oceans AbyssSound Devices Astral ARX16Sound Devices Astral HHSound Devices Astral TXRME ADI-2-4 Pro SEGrace Design m701 #cranborneaudio #soundtoys #braingasm #sub51 #soundtrax #redpanda #sourceaudio #electroharmonix #sounddevices #rme #newfangledaudio #overloud #gracedesign Paul White BiogPaul White initially trained in electronics at The Royal Radar Establishment in Malvern then went on to work with Malvern Instruments, a company specialising in laser analysis equipment, before moving into technical writing.  He joined the Sound On Sound team in 1991 where he became Editor In Chief, a position he held for many years before recently becoming Executive Editor. Paul has written more than 20 recording and music technology textbooks, the latest being The Producer’s Manual. Having established his own multitrack home studio in the 1980s he’s worked with many notable names including Bert Jansch and Gordon Giltrap. He’s played in various bands over the years and currently collaborates with Malvern musician Mark Soden, under the name of Cydonia Collective. Paul still performs live claiming that as he has suffered for his music he doesn’t see why everyone else shouldn’t too! http://www.cydoniacollective.co.uk/ Hugh Robjohns BiogHugh Robjohns has been Sound On Sound´s Technical Editor since 1997. Prior to that he worked in a variety of (mostly) sound-related roles in BBC Television, ending up as a Sound Operations Lecturer at the BBC´s technical training centre. He continues to provide audio consultancy and bespoke broadcast audio training services all over the world, lectures at professional and public conventions, and occasionally records and masters acoustic and classical music too! Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts

In this episode, Paul White and Hugh Robjohns address some of the most frequently-asked questions about home studio recording and production. They share practical, experience-based advice to help you get the best results from your setup, whatever your budget or space. Chapters00:00 - Introduction00:14 - Improving Your Room Acoustics 02:29 - Working On Headphones04:13 - Dampening With A Duvet05:50 - Choosing The Right Speakers06:50 - Mics And Preamps09:02 - Cables And Connectors11:28 - Hardware Vs Plug-ins14:09 - When To Add A Patchbay16:18 - Preparing Music For Streaming18:59 - Bass Drivers And Room Size #IsoAcoustics #AKGC414 #NeumannU87 #AudioTechnica2020 #ShureSM57 #ShureSM58 #Neutrik #Cannon Paul White BiogPaul White initially trained in electronics at The Royal Radar Establishment in Malvern then went on to work with Malvern Instruments, a company specialising in laser analysis equipment, before moving into technical writing.  He joined the Sound On Sound team in 1991 where he became Editor In Chief, a position he held for many years before recently becoming Executive Editor. Paul has written more than 20 recording and music technology textbooks, the latest being The Producer’s Manual. Having established his own multitrack home studio in the 1980s he’s worked with many notable names including Bert Jansch and Gordon Giltrap. He’s played in various bands over the years and currently collaborates with Malvern musician Mark Soden, under the name of Cydonia Collective. Paul still performs live claiming that as he has suffered for his music he doesn’t see why everyone else shouldn’t too! http://www.cydoniacollective.co.uk/ Hugh Robjohns BiogHugh Robjohns has been Sound On Sound´s Technical Editor since 1997. Prior to that he worked in a variety of (mostly) sound-related roles in BBC Television, ending up as a Sound Operations Lecturer at the BBC´s technical training centre. He continues to provide audio consultancy and bespoke broadcast audio training services all over the world, lectures at professional and public conventions, and occasionally records and masters acoustic and classical music too! Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts

Eddie Bazil explores advanced vocal processing techniques to achieve a clean, professional vocal track. He demonstrates how to control sibilance, tame resonances and apply quick corrective steps that enhance vocal clarity and ensure the performance sits perfectly in the track. Chapters 00:00 - Introduction00:30 - Common Vocal Track Issues 01:04 - Example 1: De-essing Sibilance08:57 - Example 2: Taming Resonance With EQ16:13 - Example 3: Reverb Ducking 25:22 - Example 4: Frequency Ducking Track CreditsExample 1 - written and performed by David Plummer and Becky Bremner - https://www.smokinggoats.co.uk Examples 2, 3 and 4 - ‘Puppet’ written, performed and recorded by John Walden, vocals by Yvonne McKeown #SSLVocalStrip #FabFilterProDS #FabFilterProQ3 #FabFilterMBC #FabFilterProC #UnfilteredAudioTails #TokyoDawnNovaGE Eddie Bazil BiogEddie Bazil launched his music industry career at the age of 17 as a synth programmer for a range of Electro / New Wave bands, including Art Of Noise, Spandau Ballet, Pet Shop Boys, Bobin, Paul Dee, DJ Krush, DJ Shadow, Jets Orchestra, and many more. By his 20s, he was working as a sound designer for Akai, Roland, Emu/Ensoniq, eventually signing on exclusively with the latter. Later, due to a growing demand for software instruments and libraries, Eddie began developing libraries for various software manufacturers, including Native Instruments, Kiesel, Sound Effects Library, Rob Papen, Arturia, and Propellerheads. During this time, he trained in music production. He soon gained several prominent contracts working with some notable artistes such as Busta Rhymes, Greensleeves, 9 Bar, SFP, Sleeveless, Chris Campbell and Gam Productions. He contracted to Island Records and Chrysalis as a producer and remixer, and was commissioned to write the score for Macbeth that ran at 2 Way Mirror at Alexander Palace for the Cambridge Shakespeare Company. This led to him offering educational workshops and classes, and becoming a contributing creator and Forum moderator for Sound On Sound. Recently, he was invited by the Recording Academy to become a professional member, approved educator, and mentor for their member base. Eddie now concentrates on providing private sound design and mixing/production tuition, and creating content for Sound On Sound magazine. https://eddiebazil.co.uk/ Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts

Paul White explores the creative potential of using 'found' sounds, demonstrating how items found within your surroundings can be sampled, manipulated and transformed into complete tracks within your DAW using a few simple tools. Chapters00:00 - Introduction00:36 - Software Options01:27 - Methods Used For This Demo01:58 - Creating A String Patch04:49 - A Few More Examples08:03 - Constructing A Unique Percussion Kit11:01 - Layering Sounds With Synth Pads12:13 - Using The Voice Creatively13:00 - A Finished Track Using The Sampled Sounds Paul White BiogPaul White initially trained in electronics at The Royal Radar Establishment in Malvern then went on to work with Malvern Instruments, a company specialising in laser analysis equipment, before moving into technical writing.  He joined the Sound On Sound team in 1991 where he became Editor In Chief, a position he held for many years before recently becoming Executive Editor. Paul has written more than 20 recording and music technology textbooks, the latest being The Producer’s Manual and in 2010 he received a BASCA award for his contributions to the music industry. Having established his own multitrack home studio in the 1980s he’s worked with many notable names including Bert Jansch and Gordon Giltrap. He’s played in various bands over the years and currently collaborates with Malvern musician Mark Soden, under the name of Cydonia Collective. Paul still performs live claiming that as he has suffered for his music he doesn’t see why everyone else shouldn’t too! http://www.cydoniacollective.co.uk/ Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts

David Mellor explores how the Yamaha NS-10M monitors became a studio staple and why, decades after being discontinued, engineers are still seeking out second-hand pairs. Chapters00:00 - Introduction00:15 - Why NS-10Ms Became a Studio Staple02:11 - Making Better Mixing Decisions03:49 - A Second Pair of NS-10Ms05:23 - Mixing With Missing Frequencies09:11 - Reflex vs Closed Box Monitors11:35 - Why Pleasant Isn’t Always Better13:29 - Mixes That Translate15:40 - Making Rapid Mixing Decisions18:52 - The Case for Closed-Box Monitors The Phil Ward Article - https://www.soundonsound.com/reviews/yamaha-ns10-story David Mellor BiogDavid Mellor got his start in pro audio through the Tonmeister course at Surrey University studying music, piano performance, acoustics, electronics, electro-acoustics and recording. He went on to work at London's Royal Opera House, with responsibilities including sound design, front-of-house operation, stage monitoring and electronic design satisfying the likes of Luciano Pavarotti, Placido Domingo, Dame Kiri Te Kanawa and Karlheinz Stockhausen. David has also had over 600 works published in the field of production music. Notable uses of his music include the BBC's Horizon, Fahrenheit 911, and the Oprah Winfrey Show. David has been actively involved in Audio Education since 1986, teaching students of City of Westminster College and Westminster University, also returning to guest lecture at Surrey University. From 2001 until recently David has offered courses in audio online with Audio Masterclass.  David now enjoys making YouTube videos for his 84,000 subscribers and releasing music on streaming services and Bandcamp for his dozen or so listeners. YouTube - https://www.youtube.com/@audiomasterclass Spotify - https://open.spotify.com/artist/6OkaDx4vB4O2ssUA5p4M8g Bandcamp - https://davidmellor.bandcamp.com/ Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts

In this episode, David Mellor continues his exploration of microphone polar patterns by discussing techniques for capturing stereo recordings. He examines how the choice of polar pattern and microphone placement can be used effectively to achieve a balanced and immersive stereo image. Chapters00:00 - Introduction 01:10 - Defining Mono 03:08 - Binaural Recording 04:24 - Defining Stereo 05:28 - Number Of Mics And Placement 06:58 - Polar Patterns 07:48 - Figure of 8 Demo 09:09 - The Blumlein Pair Configuration 11:05 - Coincident Cross Pair Figure Of 8 With Demonstration 16:53 - Coincident Cross Pair Of Cardioid With Demonstration 21:35 - Mic Spacing - The ORTF Configuration 24:31 - Mic Spacing - Omnidirectional Without Angling 27:28 - Medley Of Configurations 29:38 - Summary David Mellor BiogDavid Mellor got his start in pro audio through the Tonmeister course at Surrey University studying music, piano performance, acoustics, electronics, electro-acoustics and recording. He went on to work at London's Royal Opera House, with responsibilities including sound design, front-of-house operation, stage monitoring and electronic design satisfying the likes of Luciano Pavarotti, Placido Domingo, Dame Kiri Te Kanawa and Karlheinz Stockhausen. David has also had over 600 works published in the field of production music. Notable uses of his music include the BBC's Horizon, Fahrenheit 911, and the Oprah Winfrey Show. David has been actively involved in Audio Education since 1986, teaching students of City of Westminster College and Westminster University, also returning to guest lecture at Surrey University. From 2001 until recently David has offered courses in audio online with Audio Masterclass.  David now enjoys making YouTube videos for his 84,000 subscribers and releasing music on streaming services and Bandcamp for his dozen or so listeners. YouTube - https://www.youtube.com/@audiomasterclass Spotify - https://open.spotify.com/artist/6OkaDx4vB4O2ssUA5p4M8g Bandcamp - https://davidmellor.bandcamp.com/ Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts

David Mellor discusses how to create custom effects in a DAW without relying on expensive plug-ins. Here he demonstrates his approach to creating a filter pan effect using an EQ with high-pass and low-pass filters, highlighting how custom effects can help give your music a unique edge. Chapters00:00 - Introduction02:05 - Pan Effect 03:02 - Mono Pan 04:30 - Static Pan 06:21 - Music Track 06:42 - Creative Pan Effect 09:00 - Pan Effect Using A Low-Pass Filter 13:23 - Crossfading Using Filters17:15 - Effecting Individual Instruments  #slatedigital #infinityeq #protools David Mellor BiogDavid Mellor got his start in pro audio through the Tonmeister course at Surrey University studying music, piano performance, acoustics, electronics, electro-acoustics and recording. He went on to work at London's Royal Opera House, with responsibilities including sound design, front-of-house operation, stage monitoring and electronic design satisfying the likes of Luciano Pavarotti, Placido Domingo, Dame Kiri Te Kanawa and Karlheinz Stockhausen. David has also had over 600 works published in the field of production music. Notable uses of his music include the BBC's Horizon, Fahrenheit 911, and the Oprah Winfrey Show. David has been actively involved in Audio Education since 1986, teaching students of City of Westminster College and Westminster University, also returning to guest lecture at Surrey University. From 2001 until recently David has offered courses in audio online with Audio Masterclass.  David now enjoys making YouTube videos for his 84,000 subscribers and releasing music on streaming services and Bandcamp for his dozen or so listeners. YouTube - https://www.youtube.com/@audiomasterclass Spotify - https://open.spotify.com/artist/6OkaDx4vB4O2ssUA5p4M8g Bandcamp - https://davidmellor.bandcamp.com/ Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts