Lecture given by engineer José A. Medina (Uniphonic) within the Second International Meeting of Audio Specialists.

Brandon Torres, from the band Longhorn Skull, conducted an exceptional drum recording session, highlighting the use of a 14" x 6.5" Mapex Black Panther Sledgehammer snare. Samples of this snare were recorded, which are now available for download. These samples, especially the Overhead (OH) ones, are notable for their impressive sound quality. The files are in TCI format for the Slate Trigger, ready for use.

Much has already been written about the so-called volume war. It's usually been from a technical viewpoint and addressing partial aspects of the topic. Frankly, I'm a bit tired of trying to explain my vision on this matter to my clients, and to avoid having to repeat the same speech over and over, I've decided to write about it on my blog.

More and more musicians are neglecting what it means and the implications of carrying out a musical production. I suppose those who know me personally have already heard me say that nowadays a high percentage of albums that are released are just "long-duration demos". Capturing a musical work on a support does not only mean arriving at the studio, recording, mixing, editing, mastering, and that's it.

Theoretical knowledge is a factor that enhances the skills acquired through experience. Sometimes it even becomes the first step with which to explore new paths that will lead to new experiences.

The rapid development of digital audio systems has led to a "democratization" of audio production technology, which, until a short time ago, was only in the hands of professionals in the audiovisual field.

In the last article, we analyzed the fundamental concepts related to mixing. We looked at how we can approach a mix from the beginning, some tips on how to make the mixing process less traumatic, and how to create our own mixing philosophy. Now we will start to analyze the different technical processes involved in a musical mix.