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Creating software plugin versions of actual hardware is challenging. Acustica did a superb job of creating a plugin version of the D.W. Fearn VT-5 Stereo Equalizer several years ago, called Ruby. And now MixWave has done the same for the VT-7 Compressor.

In this episode, I speak with Taylor Larson, founder of MixWave, about creating the VT-7 plugin. Taylor explains the process for the VT-7, and other plugins that MixWave has developed. Learn more about MixWave and their products at https://mixwave.com/

Our conversation covered a lot more than that, however. We discuss the engineering and producing aspects of music, vintage gear, and how our careers in audio evolved over the years.

email: dwfearn@dwfearn.com
www.youtube.com/c/DWFearn
https://dwfearn.com/

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Recording sessions can be technologically complex. There are mics to set up, cables to run, headphones to deploy, maybe patching in the control room, and software and hardware to configure. It is a lot for one person to handle.

The job of assistant engineer has existed as long as recording. It not only spreads the work around, but it is also potentially a stepping-stone to becoming a fully-fledged engineer.

In this episode, I talk about the role of assistant engineer. What are their tasks? How do you teach them? I use an example of how I work with assistants in my studio, which may not be typical of most recording sessions, but it explains what my assistants do. I also discuss the same aspects from when I had a commercial studio.

You, as engineer on a session, have certain obligations as a mentor to your up-and-coming engineers. And the assistants have skills to master, plus learning about the human factors when interacting with creative people.

email: dwfearn@dwfearn.com
www.youtube.com/c/DWFearn
https://dwfearn.com/

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Since the advent of multitrack recording, the goal of most engineers has been to keep the sound of every instrument totally isolated from all the others. That makes our job much easier, since we can adjust the mix of every track as needed, and apply effects like equalization and compression to each sound individually as needed.

But does that make the best recording? For some types of music, the answer is yes. But having all the players in the same room where they can see and hear each other often results in synergy from the musicians working together that can create exceptional music.

Without baffles, isolation booths, or overdubbing, the music can be better. But this can create problems for the mix engineer, since there can be at least some of the other instruments bleeding into the mic of an instrument you want to manipulate.

In this episode, I talk about this approach to recording, which can be very challenging. It requires a studio setup that works to help maintain the desired balance of the instruments. In essence, you are recording and mixing at the same time, although there will likely be overdubs added to the basic tracks.

This isn’t an approach for everyone. But it might be a good technique to have in your repertoire when the situation is right. It will definitely stress your skills as an engineer or a producer.

email: dwfearn@dwfearn.com
www.youtube.com/c/DWFearn
https://dwfearn.com/