Creative signal abuse

Pushing audio equipment to its limits is an essential part of contemporary music production. So throw away the rulebook and let Mark Cousins guide you along the path to becoming decidedly lo-fi…

Adistorted 303, vocals compressed to oblivion, drums heavily saturated onto tape – all things that bring a warm glow to the heart (and ears) of many sound engineers and musicians alike. The truth is, most of us love the sound of gear pushed to its limits – when valves start to glow, compressors start to pump, or a tape delay degenerates into feedback. Despite equipment designers’ best intentions to provide us with distortion-free, high-resolution recordings, interest in techniques and sales of equipment at the boundaries of excess continues to grow.

This feature first appeared in Music Tech Magazine issue 18
Filed under General Features

/mtm/features/creative-signal-abuse

New users, please register here

Please enter your details below to set up your new account. Fields marked with a red asterisk * are required.

Your name
*First name:
*Last name:
Job title:
Company:

Account settings
*Email address:
	Please make sure your email address is correct, as we will send you an email with a link to activate your account.
*Username:
	Choose a username between 7 and 100 characters in length, without spaces or unusual characters. You may use your email address as your username, but note that it may appear in community areas of the site where others can see it.
*Password:
*Confirm password:
	Choose a password between 7 and 100 characters in length, without spaces.
	Remember me on this computer

Your address and contact info
Address 1:

Town or city:
County or state:
Postcode or ZIP:
Country:
Telephone:
Fax:
Website:

	By registering to use the Music Tech website you agree to allow us to contact you with our Music Tech email newsletters featuring news, competitions, exclusive content and special offers, as well as with communications from our carefully selected music technology retail and manufacturer partners. If you provide phone and post details we may contact you by those means as well with special offers relating specifically to Music Tech Magazine and our other publications. WE WILL NOT PASS YOUR DETAILS TO ANY THIRD PARTY. If at any time you wish to stop receiving our email newsletter, simply follow the Unsubscribe instruction on our newsletter. Contact us by email of post if you wish your post or phone details to be removed from our database.

MTM 107	25 Tips for Mix Processing There is a multitude of mixing tools and features to be found in every DAW, but how and when should you use them? Liam O’Mullane takes you through the options.	MTM 107	Control for Live Performance Marrying technologies old and new with the traditional aspects of live performance, controllerism is one of the fastest-growing arenas, both in terms of music itself and the kit we use to make it. Hollin Jones reveals how you can get a slice of the
	Music Tech Focus - Synthesis 2012 MTF Synthesis 2012 is on sale now featuring tutorials for Arturia, Cubase 5, Logic Pro 9, Massive, Reason 5, Razor, FM8 and more	MTM 106	25 Pro Tips for Kick-starting Composition Initial ideas that spark the songwriting process must inspire you enough to see it through to completion. Liam O’Mullane explains how he gets the fire going...
MTM 106	Contemporary Mastering Mastering is often thought of as little more than a final gloss of EQ, compression and limiting, but there are plenty of tasks beyond these that are required of the modern mastering engineer. Mike Hillier explores the world of today’s mastering.	MTM 105	Re-creating the Sound of Old-skool Dance Like fashion, music likes to nod to the past while moving it forward with elements of the new. Liam O’Mullane re-creates that old-skool vibe.
MTM 105	25 Tips for Live Sound If you want to avoid embarrassment – as well as the wrath of an irate band or venue boss – it pays to be prepared... Mike Hillier engineers the perfect gig.	MTM 105	Mixing Tips from the Industry Pros A good mix is key to a song’s success, both from a technical perspective and as a listening experience. But what constitutes a good mix ,and how is it achieved? MTM talks to ten world-class mix engineers to get their perspective on this subjective an

Sign in to download this article

New users, please register here

See also...

Menu