Music Tech Magazine


There are infinite ways to affect the colour of a sound when recording. Take, for example, a vocal part. You’ve got the fundamental choice of who you want to sing a part, you can dictate how they deliver it, and you can select where you record them. Which mic are you going to use? Where are you going to place it? Which preamp will you pick? Are you going to hit a compressor while tracking? Are you recording to tape or a DAW? Even in the seemingly simple process of recording a singer, you’re making dozens of choices, some of them subconsciously, and each one of them is affecting the overall sound of your music.

To use the obvious visual-art analogy: if you were a painter, would you want to use the same palette of colours for every painting or would you prefer to mix it up occasionally? Both are entirely valid artistic decisions but restricting yourself to a limited colour palette might, in turn, limit your artistic expression.

Similar principles apply to sound. But

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