Brian Wilson, leader of the Beach Boys, not only created unforgettable melodies but also revolutionized the recording studio as a creative tool. This article examines his legacy from a technical and acoustic perspective.

What do “digital” and “analog” really mean? This article offers a simple and useful explanation for musicians, engineers, and the curious, illustrating the differences with clear examples and graphics.

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

Brandon Torres, drummer of Longhorn Skull, recorded a drum session at our studio using a Mapex Black Panther Sledgehammer 14" x 6.5" snare. We captured samples of this snare, now available for download. The overheads sound amazing! Files come in TCI format for Slate Trigger.

Much has been written about the so-called loudness war, often from a technical angle and addressing partial aspects of the topic. I eventually grew tired of explaining my take on this issue over and over to clients, so I decided to write it all down here.

More and more musicians overlook what a music production truly involves. Many albums released today are little more than “full-length demos”. Recording a work is not just about showing up to the studio, recording, mixing, editing, mastering, and calling it done.

Theoretical knowledge enhances the skills acquired through experience. Sometimes it even becomes the first step toward exploring new paths that lead to new experiences.

The rapid development of digital audio systems has brought a democratization of sound-production technology, once available only to professional audio engineers.

In the previous article we explored the fundamental concepts of mixing: how to approach a mix from the start, useful tips to make the process less overwhelming, and how to develop your own mixing philosophy. Now we dive into the technical processes involved in musical mixing.