Bobby Owsinski
A long-time veteran of the music industry, Bobby Owsinski has produced and composed for records, motion pictures and television shows along the way. Currently a principle in the content creator 2B Media, Bobby has also penned hundreds of articles for many popular industry trade publications and has authored several books that are now staples in recording programs in colleges around the world including “The Mixing Engineer’s Handbook”, “The Recording Engineer’s Handbook”, “The Audio Mastering Handbook”, “The Drum Recording Handbook”, “How To Make Your Band Sound Great,” and “The Studio Musician’s Handbook.”
  • Music & Audio
    Vocal Recording TechniquesMusic and audio
    Last month we discussed ways to get a great performance from a vocalist, but this post is dedicated to getting a great vocal sound. Vocal recording has more nuances than recording other instruments mainly because of the plosives (the “b” and “p” sounds) and sibilance (the “s” sounds), but also because the voice has such a naturally dynamic range. Plus, there are as many vocal styles as people singing, and they all need a microphone that’s complimentary to their voice in order for it to maintain the center of attention in the track. That’s what makes microphone selection, among other things, so important in vocal recording.Read More…
  • Music & Audio
    Getting The Best Out Of A VocalistMusic and audio
    Here’s a preview from my upcoming book “The Music Producer’s Handbook”, that describes the many considerations that a producer and engineer have during recording a vocal performance. It’s not enough to capture just any performance though, it has to be the best that a vocalist can give since the vocal is almost always the focal point of the song.Read More…
  • Music & Audio
    Bobby Owsinski's "Music 3.0": Your Questions AnsweredThumg
    Here are the answers to the questions regarding the blog tour of my Music 3.0 book. Thanks everyone for the questions.Read More…
  • Music & Audio
    Equalization Tricks That Everyone Should KnowMusic and audio
    Even though an engineer has every intention of making his tracks sound as big and as clear as possible when recording basic tracks and overdubs, the frequency range of some or all of the tracks ends up being somewhat limited when it comes time to mix. This can be because the tracks were recorded in a different studio using different monitors, a different signal path, or just how things in the studio can change from day to day and from musician to musician. As a result, the mixing engineer later must extend the frequency range of those tracks when it comes time to put it all together at mixing time.Read More…
  • Music & Audio
    The Secret Of Recording Great SoundsMusic and audio
    Contrary to what many might think, just having great equipment doesn’t automatically guarantee that you’ll capture great sounds. Sure, having expensive vintage equipment helps, but when it’s all said and done, technique will trump equipment almost any day. I’m constantly amazed at the sounds that some people can get out of just an M-Box and an SM-58.Read More…
  • Music & Audio
    Effects: The Subtle Side Of MixingMusic and audio
    In a previous post we discussed some of the intangible aspects of mixing like arrangements and finding the point of interest, but this post is about a more subtle, yet vastly underrated aspect. Most engineers just developing the art of mixing usually concentrate on instrument and frequency balancing (EQing), but perhaps the most important item after that is the use of effects.Read More…
  • Music & Audio
    Why Playing In The Studio Is Different From Playing LiveMusic and audio
    My new book, “The Studio Musician’s Handbook” (written with top Los Angeles studio bassist Paul ILL) is about to be released and I thought it would be a good time for an exclusive preview.Read More…
  • Music & Audio
    Build an Effective Room Treatment on the CheapMusic and audio
    With more and more musicians and engineers able to have their own personal studio, many times the last thing considered is the acoustics of the recording space. This is understandable, since if you don’t have the recording gear in the first place, a great acoustic environment isn’t going to do you much good. But I think that one of the major reasons that the recording environment isn’t given a higher priority in a personal or non-commercial recording space are the perceived costs in attaining something acoustically reasonable.Read More…
  • Music & Audio
    Things You Don't Think About During Mixing (But Should)Music and audio
    Push up the faders, balance the mix, add some EQ, adjust the pans, add some effects and you’re finished. Those are usually the only things that many of us think about when we’re mixing, but there are a number of additional items to keep in mind during mixing besides the mixing process itself.Read More…
  • Music & Audio
    Mastering: You Can Do It Yourself (Part Two)Music and audio
    In the last post we covered a description of mastering and a couple of its basic operations, level and frequency balance. This time we’ll cover some equally important but often overlooked elements, namely editing, spreads, and exports.Read More…
  • Music & Audio
    Working With the Intangibles of a MixMusic and audio
    It’s easy to think that getting a good mix is just a matter of pushing up some faders, getting a reasonable balance, adding some effects and your done. Sure, that might work for a rough mix, but there’s a lot more that goes into making a great mix that’s way beyond the basic issue of balance.Read More…
  • Music & Audio
    Mastering: You Can Do It Yourself (With a Little Caution)Music and audio
    Just like everything else in music and recording, it’s now possible to master your own material. The tools are readily available and are very inexpensive compared to previous audio generations, but just because you own a hammer doesn’t mean that you know how to swing it.Read More…