By Ryan Worsley**

I really like sending miked signals into guitar amps, especially with drums. When I’m tracking drums, I usually have an amp miked up in the bathroom, with an SM7 on it, that I can send any of the close mics to. Typically, it will be a

By Clifton David Broadbridge

One of the most powerful musical influences that I had growing up was Stevie Ray Vaughan and Double Trouble. Stevie’s guitar tone was clean, clear, loud, and soulful, with a huge soundstage. Although I was aware that he recorded with multiple amps, there was still

Peter McBoyle is one of Canada’s most successful theatre sound designers and consultants. In his 20-plus years in the industry, McBoyle has designed the sound for countless theatre productions for the Stratford Festival, Charlottetown Festival, National Arts Centre in Ottawa, Troika Entertainment, Ross Petty Productions, Dallas Theatre Centre, and

By Noah Mintz

Last issue, I explained the different methods I tried out when mastering Your Boy Tony Braxton’s Adult Contempt, with the mandate of making it sound like it was released in 1990.
I sent the various test mixes to Shad (aka Your Boy), mixer Howie Beck, producer

By Noah Mintz

Mixing engineer and friend Howie Beck called me up one day and told me he was mixing an interesting album and that I might be mastering it. He had a question about delivering the clients some reference mixes (usually somewhat pseudo-mastered). I asked him who the artist