Digital Musician is the number one journal within the U.S. for musicians who list and bring track in a house or own studio setting.
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LIMITATIONS: Can’t sync any parameters to host. Can’t create gated algorithmic reverbs. Only one algorithm available for the reverb tail. Can’t purchase alone. 2012 whether a convolution or algorithmic reverb would sound best on your project? Then try both at once—Hybrid Reverb lets you choose an impulse response (IR) and combine it with an algorithmic reverb inside a single (AU/VST/RTAS, 32/64-bit hosts) plug-in. The IR provides the early reflections, and the algorithm the reverb tail for the composite stereo effect.
For example, he explains how to craft level changes using automation, rather than just reaching for dynamics processors, and how to reduce the gain of a mix’s peaks to allow bringing up overall levels without resorting to maximization—both techniques that I find highly useful. Winer is fond of busting audio myths, and the book does not disappoint here. The Audio Expert approaches expertise not as something to lord over others, but as a tool to make better recordings, because you have a solid grounding in the principles of audio and audio-related gear.
You don’t have to commit to buying an entire DVD; you can purchase a download of an individual chapter, and if you like it, buy more . . or just download the sections that interest you. My favorite was the Pro Recording and Mixing series. 95, shown in the screen shot) includes about 30 minutes of tutorials on drum miking—the narrators basically empty out a mic locker, set the mics up around Dennis Chambers’ drums, and compare and contrast them. The tutorial includes audio files and a Pro Tools session so you can audition the drum sounds yourself, then compare what you hear to what you see, in terms of mic placement.