Threads created by Nantho Valentine
- AUDIO RECORDING - ultimate guide (100 episodes)
- MIXING IN A HOME STUDIO - ultimate guide (150 episodes)
- HOME MASTERING - ultimate guide (22 episodes)
- Headphone mix for the singer - Part 4
- Headphone mix for the singer - Part 3
- Headphone mix for the singer - Part 2
- Headphone mix for the singer - Part 1
- The comfort of the performer - Part 3
- The comfort of the performer - Part 2
- The comfort of the performer - Part 1
- Singing or the art of performance - Part 4
- Singing, or the art of performance - Part 3
- Singing, or the art of performance - Part 2
- Singing, or the art of performance - Part 1
- Taking care of the singer - Part 2
- Taking care of the singer - Part 1
- Recording vocals
- The art of dialog - Part 3
- The art of dialog - Part 2
- The art of dialog - Part 1
- Punch In / Punch Out
- Recording by parts - Part 2
- Recording by parts - Part 1
- Working with virtual instruments
- Recording electric guitar - Alternatives
- Recording electric guitar - Tips and tricks
- Recording electric guitar - Amps in a home studio
- Recording electric guitar - DI Joe
- Recording electric guitar - Hardware
- Recording electric guitar - With or without effects? - Part 3
- Recording electric guitar - With or without effects? - Part 2
- Recording electric guitar - With or without effects?
- Recording electric guitar - Direct recording
- Recording electric guitar - Double-tracking
- Recording electric guitar - Pseudo-stereo
- Recording electric guitar - Combining several mics
- Recording electric guitar - In practice
- Off track
- Recording electric guitar - Prerequisites (Part 2)
- Recording electric guitar - Prerequisites (Part 1)
- Getting to know your gear
- Talking mics
- Doing away with the complexes
- Recording bass guitar - Naming names
- Recording bass guitar - Tips and tricks
- Recording bass guitar - Alternatives
- Recording bass guitar - With or without effects?
- Recording bass guitar - Putting the perfect sound together
- Recording bass guitar - A matter of phase (Part 2)
- Recording bass guitar - A matter of phase (Part 1)
- Recording a bass amp
- Direct recording a bass guitar
- A final word
- Recording bass guitar - Prerequisites (Part 2)
- Give it a twist
- Recording bass guitar - Prerequisites (Part 1)
- Serendipity
- Life-saving shortcuts
- Real-life mixing
- Recording yourself
- Increasing your productivity
- Recording drums — Last advice
- Learning to mix – Part 3
- Recording drums — Rough mix possibilities
- Learning to mix – Part 2
- Recording drums — The importance of the musician
- Learning to mix – Part 1
- Recording drums — Layering in practice
- Getting to know your mixing tools
- Recording drums — Tools for layering
- Essential tools for your mix
- Recording drums — Layering
- Testing a plug-in
- Recording drums — Stereo Room (Part 4)
- Choosing your working tools
- Recording drums — Stereo Room (Part 3)
- Setting limits
- LiquidSonics Seventh Heaven Professional Review
- Recording drums — Stereo Room (Part 2)
- Alternative mixes - Part 2
- Recording drums — Stereo Room (Part 1)
- Alternative mixes - Part 1
- Recording drums — The toms
- The final export of your mix
- Recording drums — Hi-hat cymbals
- How to tell when a mix is done?
- Recording drums — Panning
- Blind testing
- Recording drums - A matter of perspective
- Making the best of other's opinions of your mix
- Recording drums — First rough mix
- A new look at your mix
- Recording the snare and kick at the same time
- Critical listening outside your studio
- Recording drums — Kick drum mics
- First retouches
- Tools to make critical listening easier
- Recording drums — Aligning the kick drum tracks
- Comparative A/B listening
- Recording drums — The kick drum (Part 1)
- Critical listening in a home studio
- Recording drums — The snare drum (Part 2)
- Things to consider during critical listening
- Recording drums — The snare drum (Part 1)
- The hour of truth for your mix
- Recording drums — Last advice on overheads
- Last advice on automation - Part 2
- Recording drums — Overheads and the A-B technique
- Last advice on automation - Part 1
- Recording drums — Overheads: the XY and M/S techniques
- The traps of automation - Glitches and clicks
- Recording drums — Overheads and the ORTF technique
- The traps of automation - Part 1
- Recording drums — Mono Room
- Handling intro-verse-chorus transitions with automation
- Recording drums — Introduction
- Highlighting background instruments
- The importance of good tuning
- Automation - Tips and Tricks
- The bothers of a home studio
- Instinct and automation
- Recording a hardware synth
- Automation - A case study, looking into the details
- Tidy up!
- Automation - A case study
- The 3:1 rule
- Automating the star of your mix
- Recording a pizzicato double bass
- How to automate your mix
- Recording a bowed upright bass
- A guide to mixing music - Part 108
- How to organize for a recording session
- Setting up the headphone mix
- Artistic automation or what you can learn from movies
- The importance of pre-production
- Artistic automation
- Look after the musicians
- Alternatives to functional automation
- Functional automation
- Recording a flute
- Recording a saxophone
- Introduction to automation
- Recording a trombone
- Working at the source
- Recording levels
- What format to use?
- The gear to use
- A guide to mixing music - Part 102
- Modulation Effects - The Phaser Effect
- Modulation Effects - The Flanger Effect
- Modulation Effects - The Chorus Effect
- Tools to give cohesion to your mix
- How to use tape machine and mixing console emulators
- The whys of using tape machine and console emulators
- How to use harmonic distortion in a mix
- Getting acquainted with harmonic distortion
- Using Distortion During Mixdown
- Using Buses to Make a Mix More Cohesive
- The Relationship Between Reverb and Delay
- Fill It Up with Delay
- Using Delay to Broaden Your Horizons
- Using Delay Instead of Reverb
- Slapback and Doubling with Delay
- The Use of Delay
- Reverb Tools of the Trade
- Lateral Movement with Reverb
- Responsive Reverb
- Unreal Soundscapes
- How to Adjust Depth with Reverb
- Glue It Down with Reverb
- Choosing Reverb Sounds
- Getting Down to Work with Reverb
- The Importance of Contrast in a Mix
- Of Width and Depth
- More About Compressing Reverb
- Reverb Meets Compression
- Gated Reverb
- LiquidSonics Reverberate 2 Review
- Sculpting Reverb with EQ
- Reverb Damping
- Reverb and EQ
- Early Reflections
- It's Reverb Time
- How to Use Pre-Delay
- A Handy Rule for Choosing Reverb Presets
- Klangfreund LUFS Meter Review
- How to Use the Pink Noise Trick
- It's Just a Matter of Feeling
- Mixing with Room Reverb
- Mixing with Chamber and Ambience Reverb
- Mixing with Plate and Hall Reverb
- Mixing with Spring Reverb
- Reverb: Pre- or Post-Fader?
- Reverb In or Aux?
- Reverb Don'ts
- Using Reverb - Step by Step
- A review of the Sonible Frei:raum EQ plug-in
- Space Invaders - The Whys of Using Reverb
- Take a Break
- How to Make Good Use of Presets
- Expanders, De-essers, Limiters and Dynamic EQs
- The Best Noise Gate Plug-Ins
- Ducking with a Noise Gate
- Enhancing Percussive Elements with a Noise Gate
- Improve Your Drum Tracks With a Noise Gate
- Getting Creative with a Noise Gate
- Use a Gate to Kill the Spill
- Don't Let it Bleed
- Setting the Gate
- Noise Gate 101
- Transient Processors
- A Who's Who of Software Compressors
- Dialing in a Multiband Compressor
- A First Look at Multiband Compression
- Compression as Glue
- Sidechain Compression
- Parallel Compression
- Serial Compression
- The Opposite of Punchy
- Make Your Mix Punchy with Compression
- The Right Way to Loudness
- Add Consistency with Compression
- Ratio and Threshold in a Compressor
- Attack and Release in a Compressor
- Understanding Compressor Parameters
- Why We Compress
- Dynamics Processing 101
- Which Comes First?
- Eiosis AirEQ Premium Review
- EQing Tools of the Trade
- A Matter of Perspective
- Trust Your Ears
- Create Space and Depth with EQ
- And There Was Color
- Lifting the Mask
- If it Ain't Broke, Don't Fix it
- Into the Gray Zone
- Cleaning Up the Low End
- Trim it Down
- The EQing Primer
- On the Level
- Left, Right and Center
- Create a Rough Mix
- A Method to Your Mixing
- Critical Listening
- It's Your Gain!
- Start Small, Think Big
- Time Is on Your Side
- Putting Together the Puzzle
- Go Safely and Back Up
- The Prerequisites for a Relaxed Mixing Session
- Mixing with Myself…or Not!
- Mastering at Home - Part 22
- Mastering at Home - Part 21
- Mastering at Home - Part 20
- Mastering at Home - Part 19
- Mastering at Home - Part 18
- Mastering at Home - Part 17
- Mastering at Home - Part 16
- Mastering at Home - Part 15
- Mastering at Home - Part 14
- Mastering at Home - Part 13
- Mastering at Home - Part 12
- Mastering at Home — Part 11
- Mastering at Home - Part 10
- Mastering at Home — Part 9
- Mastering at Home — Part 8
- Mastering at Home - Part 7
- Mastering at Home — Part 6
- Mastering at Home - Part 5
- Mastering at Home - Part 4
- SoundToys MicroShift Review
- Learn From Other Mixes
- Mastering at Home - Part 3
- Mastering at Home - Part 2
- AudioTouch C-Buss Review
- Mastering at Home - Part 1
- Phase – The Solutions
- Phase — Practical Cases
- Waves J37 Tape Review
- Understanding Phase
- UAD API Vision Review
- Klanghelm SDRR Review
- What Is A Plug-In?
- What is Comping?
- U-He Satin Review
- How to Control Your Sequencer With an iPad
- Levels in The Digital World
- Introduction to Placing Sounds in Space
- How to Prepare a Mixing Session
- Universal Audio LA-2A Classic Leveler vs Cakewalk CA-2A T-Type
- Taming a New Studio
- Automation Basics