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I've been a musician for about 20 years and have been on the performance side of the recording studio experience many times. Only in the past couple of years have I gotten into being the engineer by setting up a recording studio in my home. I can now say that as a musician only I never fully appreciated the work of a good engineer. Now I understand the depth of skill needed to produce a really good recording.


Agreed, and it's actually made me a better arranger of actual live instruments. When you're solely a physical musician with no experience engineering, you don't tend to think in frequency bands and depth—both of which can be very effective when arranging for a big band, orchestra, small group.

Ask Kæreby

The doppler effect only applies to moving sources (or observers), furthermore a "left to right" perspective should be considered as one dimension (depth and height being the two others, with height being very difficult to reproduce).
The concept of close miking individual instruments became commonplace in the 70's in order to give sufficient separation to take advantage of the 16 and 24 track tape machines becoming available in that decade, which greatly increased the options for manipulating the sound during the mixing process.

Louis Byrd


As an audio engineer...I run into plenty of artist that don't understand the work that goes into capturing a great performance and painting a sonic picture.

When I listen to tracks now, especially on the commercial level, the engineers and producers have forgotten about the creative aspect of recording and utilizing space...even worse everything now is over processed...which in my opinion kills the music.

I would add that the imperfections in a recording can actually make the record. From an engineering standpoint there are certain "rules" that apply to recording techniques, however...I believe that rules are meant to be broken.

Sounds good....is Good.


Some get paid to sing good other get paid to make you sound good respect those people you make the real magic

Ravensworth Studios

We really enjoy collaborating with those musicians who are currently working out of a home or project studio. They understand the process, have some engineering experience...and appreciate the skill levels (and amount of work) required to achieve a really great recording. While some of the project can be tackled in their own studio...they realize the benefits of coming into a pro studio and taking it to the next level.

Good, informative post! Looking forward to Parts 2 and 3.

Jos Smolders

You probably mean the Haas-effect.


I disagree with the part about close miking. Distance equals depth, especially with drums. No room mic will give you a flat, dead sound. For a natural sound, put the sounds on tape they way they will sound in the final recording. The less manipulation you have to do at mixdown, the better.

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