From the Boiler Room: Taking Stock

oasis_poolI’ve been away for 10 days recently; along with my wife and family, I was relaxing on Fuerteventura, a frequent holiday spot for us for several years.  As well as some real books, audio books, podcasts, new music downloaded from Spotify and old music downloaded from my PC, I also took with me work-in-progress mixes of the album of songs I’ve been working on for the last year.

Part of the issue with working on a solo project is that there’s no one to make you carve out the time – you have to do that for yourself, fitting it in around the multiple demands of “normal” life.  It’s more difficult on your own than when it’s a joint project, because the need to make space for your partners forces you to set some mutually convenient time aside, and everyone makes the effort to keep that regular space in the diary. There’s also no one to tell you when things sound great or, (more importantly), where an idea doesn’t fit or a direction isn’t working.  You have to gauge that for yourself.

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New Mix – “Flattery & Lies”

I’ve thrown my hat into the ring for the mixing contest being run by Mixnotes.TV  The song is “Flattery & Lies” by Caitlin Eadie.  It’s an interesting combination of sampled drums playing against acoustic and electric guitars, with a double bass in place of a bass guitar or synth and some tasteful keyboards to underpin the vocal.


Video Tutorial: Stereo Panning Options

It’s easy to visualise how the panning of a point source, such as a snare drum, works in stereo , but what happens when your sound source itself is in stereo? Yes, you can pan the centre point of the image left to right, but you might want to have control of the width of that sound, for have that stereo source behaving more like a point source in the context of your mix. Within Cubase, there is an option that allows you to narrow the stereo field and pan it exactly where you want and how wide you want in your mix. And, should the need arise, to completely reverse the stereo image, putting the original left channel on the right and vice-versa.



New Mix – “Invincible”

This is my mix of “Invincible”, a new song from LA-based singer/songwriter Daniel Sobrino.  It features more synths and electronic drums than other mixes I’ve included on the site, but is still driven by an acoustic guitar that runs throughout and some nice harmony vocals in there as well.

Momentary Max: -11.5 LUFS, Integrated: -16.4 LUFS, Range: 8.3 LU, True Peak -0.5dB


New Mix – “Thanks For Breakfast”

This mix is something a little different – no guitars!  “Thanks For Breakfast” is a song by Jessica Ripka and is driven by her piano playing, supported by some very nifty strings – there are only two string players on the song, but they overdubbed themselves repeatedly to create a full string section.

Momentary Max: -11.2 LUFS, Integrated: -16.2 LUFS, Range 7.4 LU, True Peak -1.4dB, no buss limiting


New Mix – “Already There”

This is the mix of a song by Graham Cochrane, whose blog at The Recording Revolution is well worth checking out – he’s very much a ProTools user, but he posts a lot of material that is not limited to ProTools, but can be applied in any DAW.  I’m a subscriber and you should be too, if you’re serious about improving the quality of your recording and mixing.

Momentary Max: -11.0 LUFS, Integrated: -15.6 LUFS, Range 13.6LU, True Peak -0.5dB, no buss limiting