Category: Audio Engineering

Mixing: How Balancing, Panning and Effects Create One Cohesive Sound

Mixing: How Balancing, Panning and Effects Create One Cohesive Sound

When you listen to a song, you hear a lot of different sounds all happening at once. There might be guitars, drums, vocals, and other instruments all blending together to create the sound you enjoy. But how do audio engineers get all these sounds to fit together in a way that sounds good? The answer is mixing. Mixing is the process of balancing the different elements of a song to make sure everything sounds just right.

Balancing Levels

Imagine a big orchestra with a lot of instruments playing together. If the drums are too loud, you might not be able to hear the violin or the piano. In music mixing, balancing levels means adjusting how loud or soft each sound is. For example, the vocals might need to be louder than the background instruments, or the bass might need to be quieter so it doesn’t overpower everything else.

Each sound in a mix is given its own volume level. Audio engineers use tools called faders to adjust the volume of each track in the song. If something sounds too loud or too quiet, they tweak the fader until everything sounds balanced. The goal is to make sure that no part of the song is too overpowering or too hidden. This is like setting the right volume for each part of a puzzle so it all fits together smoothly.

Panning

Now, think about where you’re listening to the sound. You have speakers or headphones, right? Those speakers can play sound from the left side or the right side, or even from the middle. Panning is the technique used to place different sounds in different parts of the stereo field (left, right, or center).

For example, imagine you have a song where there are vocals in the center, drums on the left side, and guitars on the right side. This helps create a sense of space and makes the song sound more interesting. If everything was in the center, it would sound crowded and flat. Panning gives each sound its own place in the mix, so you can enjoy the full stereo effect.

Audio engineers often pan instruments based on what makes sense for the song. For example, if a song has two guitars, one might be panned slightly left and the other slightly right to create balance. This way, you can hear both guitars clearly without them clashing with each other.

Using Effects

Effects are special tools that can change how a sound feels. There are many types of effects, but some of the most common are reverb, delay, equalization (EQ), and compression. Let’s break them down:

  • Reverb: This effect makes sounds feel like they’re happening in a larger space, like a concert hall. It adds depth and makes sounds feel more natural.
  • Delay: Delay is like an echo. It repeats a sound after a short time, which can make the song feel more exciting or add a cool texture.
  • EQ (Equalization): EQ lets you adjust different frequencies of a sound. For example, you might increase the bass to make a song sound fuller, or cut some high frequencies to make vocals smoother.
  • Compression: Compression helps to make the loud parts of a sound quieter and the quiet parts louder, making everything more even.

These effects can be used on individual instruments or on the whole mix to create a certain vibe or mood. For example, if you want a dreamy, atmospheric feel, you might add lots of reverb to the vocals. If you want the drums to punch through, you might use compression to make them sound tighter and more powerful.

Final Thoughts

In a song, balancing levels, panning, and using effects work together to create a cohesive mix. The engineer adjusts the levels of each instrument to make sure everything can be heard clearly, uses panning to give each sound its place in the stereo field, and applies effects to add depth and character to the sound.

You can think of mixing  like making a painting. The balance of colors (levels), where each color is placed (panning), and how you add texture or shading (effects) all come together to make the final artwork look just right. In music, these mixing techniques help make the song sound its best, so the listener can enjoy every detail.

Have fun and happy recording!

-The SRA Audio Engineering Team

Analog vs. Digital Recording

Sonic Showdown: Analog vs. Digital – Which Will Rule Your Studio?

Ever wonder whether you’re getting the best sound with digital products, or if analog gear is really worth the extra investment? Whether you’re a budding musician, an aspiring audio engineer or just curious about the recording process, this guide will help you navigate the nuances of these approaches to capturing sound.

We’ll explore the fascinating world of analog and digital recording, while unpacking the key aspects that set these two formats apart. While we can’t cover every detail here, hopefully this provides you with valuable insights and tips to help you understand the strengths and weaknesses of each medium.

Let’s dive into the vibrant debate of analog vs. digital and discover which might resonate with your creative journey!

Signal Type and Sound Quality

  • Analog Recording – Using a Tape Machine:
    • Pros: Analog tape captures sound as continuous waves, creating a warm and rich listening experience that many people love. Akin to vinyl, it feels smooth and natural, with an intimacy almost as if you’re right there in the room with the artist. Additionally, it’s known for its pleasing and organic sound, adding character to the recordings.
    • Cons: However, just like vinyl can get scratched and worn over time, analog tape can degrade as well. This means that after a while, the sound quality can suffer. You might also hear background noise like tape hiss, and the dynamic range is more limited, which can affect clarity.
  • Digital Recording – Using Software:
    • Pros: On the other hand, digital recording uses binary code (0s and 1s) to represent sound, which means you get super clear and accurate music every time you play it. The quality doesn’t fade over time, just like how a CD will always sound the same. Digital recordings generally offer a clearer sound with a broader dynamic range and lower noise levels, making the listening experience precise.
    • Cons: But here’s the catch: when you convert sound to digital, it’s similar to taking a photo. If the resolution isn’t high enough, some details might get lost—just like a photo may come out blurry. Additionally, some people perceive digital sound as overly sterile, lacking the emotional depth and character that you might find in analog recordings.

2. Editing and Flexibility

  • Analog:
    • Pros: You have fewer choices, which we consider a good thing!  When each take matters, artists learn how to embrace the quality and unique character of their live performances and commit to creative choices in the moment. 
    • Cons: Editing is labor-intensive and less forgiving, making mistakes harder to correct without impacting the original quality or needing to retrack something.
  • Digital:
    • Pros: Digital editing provides exceptional flexibility in editing, allowing for precise manipulation of sound and easy application of effects. This efficiency enhances the creative process, enabling artists to experiment and achieve polished results quickly.
    • Cons: It’s easy to focus on the music visually instead of truly listening to it, which can lead to overproduction and excessive polishing. This often risks sacrificing the essential human element in the sound. And, with endless options available at your fingertips, it can be easy to overdue takes and use too many effects.

3. Dynamic Range and Noise Floor

  • Analog:
    • Pros: Certain types of analog noise, like tape saturation, can add pleasing qualities to the sound.
    • Cons: In most rock music, the presence of tape saturation is typically accepted and embraced; however, classical music often seeks a cleaner, more pure tone.
  • Digital:
    • Pros: Offers an impressive dynamic range and virtually silent audio, enabling a wide variety of sonic possibilities.
    • Cons: If not carefully managed, digital recordings can introduce unwanted artifacts or harshness, especially in poorly processed files.

4. Equipment and Cost

  • Analog:
    • Pros: Vintage gear has a nostalgic appeal, and quality analog equipment can be highly revered for its specific sonic attributes.
    • Cons: High initial cost and regular maintenance can make it a less accessible option for beginners and casual users.
  • Digital:
    • Pros: More affordable entry point with substantial software and hardware options available for new recording enthusiasts.
    • Cons: Constant updates and the rapid evolution of technology can lead to feelings of obsolescence and may encourage a continual investment in new gear.

5. Playback Medium

  • Analog:
    • Pros: The physical playback experience (like dropping a needle on vinyl) can enhance the enjoyment of music and create a deeper connection to the medium.
    • Cons: Requires specific playback equipment, which can limit accessibility for some listeners.
  • Digital:
    • Pros: Versatile playback options across various devices, making it easier for listeners to access and enjoy music anywhere.
    • Cons: The digital experience can sometimes feel impersonal compared to the tangible nature of analog formats.

6. Emotional and Creative Process

  • Analog:
    • Pros: Analog recording keeps you away from those computer screens, letting you focus on the music instead! Plus, at the end of a long recording session, you’ll be happy to find that your eyes feel a lot less strained and sore. It’s a refreshing break from the digital glow!
    • Cons: The complexity and limitations of analog equipment can sometimes be frustrating for beginners.
  • Digital:
    • Pros: Offers vast creative options through plugins and software, fostering innovation and experimentation.
    • Cons: The reliance on screens and digital tools can detract from the immersive and human experience of creating music.

Final Thoughts

Both analog and digital recording mediums possess unique advantages and challenges, allowing for a rich array of sonic possibilities. Their distinct pros and cons cater to different artistic preferences and workflow styles. Whether you prefer the warmth and charm of analog or the precision and flexibility of digital, exploring both can enhance your recording experience and help you find your unique sound.

Have fun and happy recording!

-The SRA Audio Engineering Team

Understanding Gain Staging in Audio: Optimizing Your Mix From The Start

 

Understanding Gain Staging in Audio: Optimizing Your Mix From The Start

Whether you’re recording your first song or mixing beats for a video project, gain staging is one of the most important things to understand in audio production. It might sound technical, but once you get the hang of it, you’ll wonder how you ever recorded without it.

So, What is Gain Staging?

In simple terms, gain staging is the process of managing the levels of your audio signals as they pass through different stages of your recording or mixing setup. The goal is to keep your signal strong enough to sound clean and full, but not so loud that it causes distortion or clipping. 

Analog Gain Staging

In analog setups—like old-school mixers, tape machines, and outboard gear—gain staging is all about keeping your signal in the “sweet spot.” That sweet spot is where the gear sounds its best: warm, clean, and punchy. If the signal is too low, you’ll get hiss or background noise. If it’s too high, you’ll get distortion—not the cool guitar pedal kind, but the harsh, unwanted kind that ruins your sound.

Analog gear often has what’s called “headroom,” which is the extra space above your average signal level before it clips. Engineers aim for average levels that sit around 0 VU (Volume Unit) on a meter, which gives plenty of headroom for peaks (louder moments) in the audio. This approach ensures clarity and leaves space for natural dynamics.

Digital (In-the-Box) Gain Staging

In digital recording, especially “in the box” (which means working entirely within a computer using software like Pro Tools, FL Studio, or Ableton Live), gain staging is still crucial—just in a different way. Digital audio has a strict limit: 0 dBFS (decibels Full Scale). Go over that, and your audio clips, resulting in nasty digital distortion. 

Unlike analog gear, digital systems don’t have the same natural compression or saturation when pushed hard. So, you want to keep your track levels well below 0 dBFS—often around -18 to -10 dBFS for peaks—especially when tracking or mixing. This gives you room to process your audio with effects and plugins without things getting too loud or messy. Many plugins these days model analog gear somewhat accurately, so taking an analog approach to gain staging specifically with those plugins inside a DAW can help get you warmer sound, however you will still have a digital limit of 0dBFS which should be respected at all costs to avoid harsh digital distortion.  

Why It Matters

If you ignore gain staging, your mix can quickly become muddy, distorted, or too quiet. But when you manage your levels properly, your tracks stay clear, balanced, and easier to mix. It’s like organizing your workspace—when everything’s in the right place, the job gets a lot easier.

Final Thoughts

Whether you’re turning knobs on a vintage mixer or adjusting faders in your DAW, gain staging is all about control and clarity. Get your levels right at each step, and you’ll set yourself up for a clean, professional sound. It’s one of the first things every audio engineer learns—and one of the most important to master.

Have fun and happy recording!

-The SRA Engineering Team

Mic Check: An Introductory Guide to Microphone Types and Techniques

 

Mic Check: An Introductory Guide to Microphone Types and Techniques

Hey there, future audio wizard!

If you’ve ever stood in front of a mic and thought, “Why are there so many types—and which one do I actually need?” you’re not alone. Microphones are one of the most essential tools in audio engineering, but they’re also one of the most misunderstood. Let’s break things down and get you mic-savvy in no time.

Meet the Mic Types
Let’s start with the big three: dynamic, condenser, and ribbon mics. Each has its own sound and vibe, and understanding them is like learning the difference between a hammer, a screwdriver, and a wrench. They’re all tools—but you use them differently.

Dynamic Microphones

  • Think: Shure SM57 or SM58.
  • Use for: Live vocals, drums, guitar amps.
  • Why: Tough as nails and can handle loud sources like a champ.
  • How they work: They use a moving coil to convert sound into electrical signals—super durable, low maintenance.

Condenser Microphones

  • Think: Neumann U87, AKG 414.
  • Use for: Studio vocals, acoustic instruments, podcasts.
  • Why: More sensitive and accurate. They capture the sparkle and detail.
  • Bonus tip: They need phantom power (usually +48V from your interface or mixer).

Ribbon Microphones

  • Think: Royer R-121, RCA 44.
  • Use for: Strings, brass, vintage vibes.
  • Why: Warm, smooth tone. Great for taming harsh highs.
  • Handle with care: Ribbon mics are delicate. Don’t blow into them or plug them into phantom power unless you’re 100% sure they’re protected.

Polar Patterns: The Mic’s Field of Vision
You know how a camera can zoom in, take a wide shot, or focus just on what’s in front? Mics have similar “vision”—called polar patterns.

Here’s a quick cheat sheet:

  • Cardioid: Heart-shaped pattern. Picks up sound from the front, rejects the back. Great all-rounder.
  • Omnidirectional: Picks up sound from all directions. Good for capturing room ambience or group vocals.
  • Bidirectional (Figure-8): Picks up front and back, rejects sides. Ideal for interviews or mid-side stereo techniques.
  • Supercardioid/Hypercardioid: Tighter front pickup with a bit of rear sensitivity. Used in live sound and film.

Mic Techniques You Should Actually Try
Getting a good mic is only half the battle. There are endless choices. Think of micing pieces of air around instruments rather than micing the instruments. 

Proper Placement

  • Vocals: About 6–12 inches from the mic with a pop filter. Angle slightly to reduce plosives (those nasty “p” pops).
  • Acoustic Guitar: Try pointing a small diaphragm condenser at the 12th fret, sound hole or on the body depending on the EQ you want to achieve -about 6–12 inches away.
  • Drums: Overhead spacing, snare close-miking, kick with a dynamic inside the shell—each placement changes the vibe.

Room Awareness
Bad room = bad sound. A great microphone capturing a less than desirable room can still be challenging. We’ll cover room acoustics in an upcoming article.

Proximity Effect
The closer the mic is to the source the more low end will be present. That’s the proximity effect. You can use it to your advantage—or tame it with EQ.

Stereo Miking Techniques

  • XY: Two mics at 90° angles, capsules touching—phase-friendly and simple.
  • ORTF: Two cardioids, spaced ~17 cm apart, angled at 110°. More natural stereo field.
  • Mid-Side (M/S): One cardioid facing the source, one figure-8 perpendicular. Super flexible in post-production.

Final Thoughts
Choosing and using mics isn’t just about gear—it’s about ears and intention. Every sound source is different, and experimentation is key. Don’t be afraid to move things around, trust your ears, and most importantly—record everything. You’ll learn more from hearing your successes (and your not-so-great takes) than you ever will from reading manuals.

So go ahead, grab that mic, hit record, and start capturing magic.

Until next time—stay loud, stay curious.

-The SRA Engineering Team

EQ: Shaping Sound in Analog and Digital Worlds

 

EQ: Shaping Sound in Analog and Digital Worlds

If you’ve ever turned the bass or treble knob on a car stereo, you’ve used EQ—short for equalization. In audio production, EQ is a powerful tool used to shape the tone of sound by adjusting the volume of specific frequencies.

Whether you’re working with vintage analog gear or a laptop and headphones, understanding EQ is essential for creating clean, balanced mixes.

So What Does EQ Actually Do?
Sound is made up of different frequencies—low ones like a bass drum, midrange like vocals or guitars, and high ones like cymbals or hi-hats.

EQ lets you boost (increase) or cut (decrease) specific frequency ranges to make your audio clearer, more powerful, or just better suited to the overall mix.

Think of EQ like balancing in cooking. If a dish is too salty, you tone it down. If it’s bland, you spice it up. In the same way, EQ helps “flavor” the sound until everything sits just right.

EQ in Analog Setups
In an analog workflow, EQ is often found on mixing consoles or outboard gear—physical boxes with knobs and switches. These analog EQs have a distinctive sound and character. Some might slightly color the audio in a way that’s actually desirable, adding warmth or punch to a track.

Analog EQ typically comes in a few forms:

  • Fixed-band EQs, where the frequencies are pre-set.
  • Semi-parametric EQs, where you can choose frequency and gain but not the width (called “Q”).
  • Fully parametric EQs, which let you control frequency, gain, and Q—giving you full control.

Using analog EQ involves physically turning knobs, often by ear. It’s hands-on, and many engineers love the feel and musicality of it.

Plugin EQ for DAW’s
In digital audio workstations (DAWs) like Logic Pro, FL Studio, or GarageBand, EQ is done using plugins. These digital EQs are super flexible, and many let you see a visual graph of the frequencies. That means you can “see” what you’re doing while you adjust—making it easier to learn and make precise changes.

Just like the analog counterpart the digital EQ most common is the parametric but occasion you’d see a graphic or linear-phase EQ.

  • Parametric EQs, offering full control with visual feedback.
  • Graphic EQs, where you slide multiple bands up or down.
  • Linear-phase EQs, used for very clean adjustments without messing up the phase of your audio.

One big advantage of digital EQ is that you can use as many as you want, and recall your settings instantly. Plus, some EQ plugins even model the sound of famous analog units, blending the best of both worlds.

Why EQ Matters
EQ is one of the most used tools in mixing and production. It helps you remove unwanted noise, bring out important parts of a sound, and make sure each instrument has its own space in the mix. Without good EQ, tracks can sound muddy, harsh, or flat.

Whether you’re turning physical knobs on an analog board or dragging curves with a mouse in your DAW, EQ is all about shaping sound to make it clearer and more musical.

Once you understand how frequencies work and how to adjust them, you’ll be well on your way to creating great-sounding music—no matter what tools you’re using.

Bonus EQ Tips

  • Get it to sound right at the source, move the mic!
  • EQ in context—more than in solo.  A track may sound odd solo’d but perfect in the mix.

Have fun and experiment!

-The SRA Engineering Team

 

Application FAQ’s

Application FAQ’s

Considering applying for an audio program with us? We’ve put together a list of the most commonly asked questions regarding our application process, we hope you find it helpful!

Q: What does the application process entail?
A: The steps include an application form, an essay, references and a most recent transcript. Elective additions include any letters of recommendation and/or work samples, but are both optional. The final step is an informal interview with the school directors.

Q: What is the application interview?
A: This process allows us to take things from just paper to a real conversation. Oftentimes, it may be the first time we’ve had the pleasure of speaking with an applicant, so we really value this opportunity to make a more personal connection, get to know each person a bit more and also answer any questions that come up.

Q: What if I am unable to get a copy of my transcript in time?
A: We suggest requesting a digital copy of your transcript if possible, that tends to expedite things. If you are unable to obtain a copy in time, you may still submit your application without the transcript, and send it later once it does arrive. In this case, please make sure to include a note with your submission regarding. For students who may have taken a long hiatus from education and are having trouble in general getting any copy of a transcript, please just email us directly at: info@seattlerecordingarts.com to discuss.

Q: Do I need any previous audio experience?
A: For our Audio Engineering Level 1 program, previous experience or prerequisite training in audio is not a requirement, however, a background in music, music theory and/or experience playing musical instruments are very helpful building blocks, and are highly encouraged.

For our Audio Engineering Level 2 program, the AE Level 1 program serves as it’s prerequisite, and we also consider students who already have an equivalent background in education and/or working experience with priority given to SRA Level 1 graduates.

Q: What kinds of qualities are you looking for in an applicant?
A: As a school with very small classes, we really want to see that each prospective student can be a positive part of the whole, and works well with others. Students that are serious about their education, responsible, reliable and ready for success are a great fit and will thrive. We also value diversity among backgrounds, gender, ethnicity, age and audio interests as a whole.

Q: How do I get an application kit?
A: Application kits are available for download on each of the program pages of our website. Once on the program page, scroll about two-thirds down and you’ll see a section dedicated to applications.  Click the “download application” button at the bottom to automatically start the download to your computer. Alternatively, feel free to write to us at: info@seattlerecordingarts.com and request one be sent directly by email. Additionally, the application kit will include all necessary forms as well as an instructions sheet. Please be sure to read the instructions first.

Q: What is the turnaround time for processing my application?
A: Most often, we can process applications in about a week to two weeks from the time we receive them depending on how soon we can schedule the application interview and hear back from references. All applicants will be notified in writing within 30 days if they have been accepted. Once accepted, students have the option to accept the offer of enrollment by a certain deadline (typically a few weeks before a course begins).

Q: Is the application process competitive?
A: We do accept and process applications on a rolling basis, or as they come, so it’s always an advantage to apply early. There are usually seats still available through an application deadline, however a percentage may be filled by early applicants.

Q: What if I missed the deadline, can I still apply?
A: In the event that any seat goes unclaimed or a spot is released, we can consider late applications. It never hurts to ask! If a class is already full, a late applicant can also be put on a standby list in the event a spot does become available.

Q: What if I get accepted, but can’t make the timing work?
A: An approved application stays good for one year, so if the timing for the most immediate course doesn’t work out, you can consider rolling your approval over to a future course if that works better. Audio Engineering courses typically start twice yearly in spring and fall.

– – – – –

We hope this answered your questions about our application process. Feel free to reach out to us at info@seattlerecordingarts.com or 206-623-7272 if you’ve got any further questions about this or any of our programs.

Grad Spotlight: Brian Wall (Ryan Lewis, TM88, Willow Smith)

This month, we’re turning the spotlight to our Audio Engineering graduate, Brian Wall. Brian is an audio engineer, producer and musician currently living and working in Los Angeles. We chat with Brian about his exclusive partnership with producer Ryan Lewis, his advice on how to cultivate successful collaborations and opportunities in the industry as well as his latest adventures in the land of audio.

SRA: You’ve been down in LA working with Ryan Lewis for the past year or so, how did you two first get connected? 

BW: We met in Seattle in the spring of 2019. I had just rented a studio in the Georgetown neighborhood, moved my gear in and before I could set anything up the landlord asked if I also wanted to see the room next door, which was a bit larger. I went to see the place and found out it was Ryan Lewis who was moving out. He ended up showing me around, we talked about my intentions with the space, bonded over our similar musical interests, mutual friends and exchanged contact info.

Later that year, Ryan called me out to engineer a session for him at his private studio and it went really well. After that session we got together at my place to share music and talk about our 2020 goals. He told me about his record deal with Sony and invited me onboard to engineer and assist the production of the project with him. I immediately said yes and we were in LA a few weeks later meeting with writers and figuring out how to work together. Since we are both producers, it was important for us to know how to delegate tasks and have a file sharing system that inspires a smooth workflow, not slow it down. We developed a folder hierarchy and labelling system that made sense for us, and use it to this day!

We left LA in the winter of 2019 and headed out to his studio in Washington to start making music for Sony. The goal was to make a bunch of music to bring to the songwriters we had met in LA, but once the pandemic hit, we were a little unsure of what to do next. Our writing sessions were on hold, and we had a large handful of instrumentals and song starters that we didn’t know what to do with. This sparked our move to Los Angeles in the Summer of 2020. 

SRA: Tell us more about the projects you and Ryan been working on together and how that’s been going.

BW: We have been busy since we first stepped foot in Los Angeles. Our first mission was to build a studio and establish a home base. Ryan found an old studio space in the Atwater Village neighborhood that was previously owned by the Beastie Boys. We began renting out half of the building and spent months building it out as a studio that would work for us. Once we established a place to work we started hosting Covid-safe writing and recording sessions, mostly over Zoom.

We have been working on music with two main “buckets” in mind. Ryan’s deal with Sony opens the door for him to start putting out songs featuring artists similar to what other producers have done in the past. He also has a publishing deal with Warner/Chappel that opens doors for him to work with writers and artists on music that would be coming out on their albums. So as we make songs, he starts to feel them out and determine whether or not it is best kept for his solo project, or best saved for another artist’s project.

Every day we are working on growing our community in Los Angeles. Ryan changed management and we’ve been meeting new writers weekly, and are continuously trying to spark joy for ourselves in the songwriting process. It’s fun meeting and working with new artists, writers, and other producers. I’m glad that we are here. 

(Brian and Ryan’s Studio in Los Angeles)

SRA: What do you think is most important when collaborating with other artists? What makes a collaboration successful, and what things should one avoid?

BW: I love this question, and I always think of how important it is to communicate with your collaborators. Leave your ego at the door when you enter the studio and open your ears to the energy in the room. I was just talking to Ryan about this and we thought of a few bullet points for producers, engineers, and writers to think about before going into a writing or recording session. 

  • Build rapport with your collaborators ~ Get to know the person that you are working with before you start creating. This can be as simple as sitting for coffee and asking a few questions before you start getting creative. Everything’s better when you’ve had a chance to meet someone on a personal level before working together. 
  • Establish a judgement free zone when you enter the studio. You want to feel comfortable being creative and energized to share your ideas. 
  • Be prepared. If you’re going into a rap session, have beats. Pop session, have song starters, a chord progression, an idea. If you’re an engineer, have a session started and a microphone or microphones up before the artist arrives. Don’t always need a lot, but you need something.
  • Open your ears to the nuggets of good ideas. (aka “Leave your ego at the door”)  A powerful collaborator is capturing and taking note of the special moments and knows how to relate them to the artist. Tap into the curiosities of your environment. 
  • Don’t do a session that you don’t actually want to do. This might be the most important one. Nothing good ever comes from a session that you won’t enjoy being in. It is an act of self respect and respect for your collaborator to respectfully decline a project that you are not genuinely interested in.

SRA: What kinds of things do you find most effective in making new industry connections or creating opportunities?

BW: Put yourself out there in an authentic manner and be kind, open to anyone, and find ways to connect with the people you meet in a genuine way. I went to a lot of house shows, met with people over social media who shared similar interests, and remembered to stay in touch with them! Get a little bit out of your comfort zone and be open.

It is important to remember that you don’t have to connect over music with someone just because you both work in the same industry. It might feel like music is your whole life at times, but you’ve got a lot more to offer than just a good set of technical skills. 

“You will mess up, and you should mess up.
It is all a part of the learning process”

You want to meet that A&R at that label you really like and you see them at an event but don’t know how to say hello? Just do it. Be genuine, be kind, and introduce yourself! 

It has been helpful for me to remember that you aren’t just trying to get a “Rolodex” of phone numbers and emails. You are trying to *Connect* with people. Opportunities ignite from the spark of a good connection. So don’t try to connect with someone for the sake of making a connection. That never lasts because it’s disingenuous. 

SRA: What else have you been up to in the industry since you graduated?

BW: I’ve been busy! I prioritized continuing my education via application and “environmental studies”. I hosted and went to a lot of house shows, worked at the Neptune Theatre (Seattle) as a stagehand for their big shows, tapping into the local industry as much as possible, without trying to be too zealous. 

I continued my engineering at Orbit, first by freelancing and bringing in projects of my own, and then eventually coming on as a house engineer. That is when I really blossomed into the industry side of the local music community working with TM88, Willow Smith, Mya etc. 

I’m producing a lot of instrumental music of my own and work with talented musicians that I have met to bring these compositions to life. I’ve taken on a few mixing and mastering gigs since graduation as well. I just mastered a Lofi hip-hop album titled “Noceur” for a PNW group called Ippi x R.O.B.

Ultimately, I have been jumping into environments that have given me a diverse education and allowed for me to embark on different forms of collaborations. I’ve since worked on indie projects, been a part of major label songwriting sessions, recorded with some incredible artists, and have been fortunate enough to learn more since moving to LA.

SRA: What advice would you have for anyone new looking to start their path in audio?

BW: I have a few pieces of advice! 

  • Fail fast and learn to grow from your failures. You will mess up, and you should mess up. It is all a part of the learning process. This is also not an excuse to be dumb ~ It is important to respect the space, the people, and the tools that you are working with. 
  • Keep making music… even when inspiration feels out of reach. 
  • Figure out what part of the industry really excites you and double down on it. If songwriting inspires you most, then be a songwriter. You might realize while working in one part of the industry that you are actually most inspired by another part. Figure out what you need to do to make THAT your job and set your path on that. 
  • Organize your files. I can’t stress this enough. Make a folder for your song and put everything related to that song in there. Make a sub folder for your sessions and all of your session copies, a sub folder for your stems, and a sub folder for your Bounces. Expand from there! 

 SRA: Anything else you’d like to share that inspires you?

BW: Music enlightens, and I couldn’t imagine living my life without contributing to the creation of it, but I also couldn’t imagine music without the culture behind it. I’m not inspired solely by the sounds I hear, but by the environments that I am in while I am listening. The clothes, the colour palettes, the designs, the scents ~ It all contributes. I’ll forever be inspired by the people I get to spend time with, the things we do, and the culture we get to experience and be a part of. 

“Inspire others to inspire themselves” – Pontus Alv

Follow Brian on Instagram @Strictlymissionary and @Strictlysongs (for catalog releases – coming soon!)

 

What does a music producer do?

In sports they are called a coach, in movies they are called a director and in music they are called a producer.

“The music producer is a project manager, someone who helps arrange the session, for example where to record that will get the most from the artist. The record producer also is the person that helps the band or artist to realise their vision but also brings a perspective and experienced ear to the session. Most people would agree that a great producer takes the ingredients (the song, the band etc) and makes the record greater than the sum of its parts.”

More info coming later but for now heres a good article of what a music producers does.

https://www.recordproduction.com/what-is-music-producer.html

Drum Compression

When it comes to mixing drums, few things have studio newcomers tearing their hair out more often than compression. Is a compressor supposed to even out the levels in a performance? Or lengthen sustain tails? Or make individual hits more punchy? Or pull up low-level details? Well, compression could do any of these things, or none of them, depending on how you set the compressor up — hence all the confusion! Read more here…

https://www.soundonsound.com/techniques/compression-fashion-drum-sound-you-want

Check our new audio engineering classes video!

Check out YouTube channel for more videos like this!