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Tech Tips

inSync Tech Tips cover over 4,800 music and audio topics spanning 15 years of technological development. Look here to find answers to your tech questions, cool tips and tools for making music, and more.

Live Sound Tech Tips

Voice Limiting in Logic Pro 7.2

One of the easiest ways to streamline any software DAW's performance is to use the Voice Limit Object function in Apple's Logic Pro (almost all of today's software DAWs have a similar feature, though it will likely... Read more »

True X-Stage Mixing

This is a technique normally reserved for big stages and large venues, such as concert halls and auditoriums. It is also referred to as "cross-stage monitoring" because it essentially splits the stage in half and... Read more »

Fixing Dropouts in Ivory

Q: I'm having a few dropouts when I use Ivory with other instruments. What can I do to maximize performance with my computer? A: If you start experiencing dropouts without seeing the "Slow Disk" warning to the left... Read more »

Safe In-Ear Monitoring

While in-ear monitoring systems (IEM) are becoming more affordable, not to mention the fact that they offer a much cleaner mix than stage monitors, there are some risks to consider in terms of hearing damage due to... Read more »

Multitimbral Instruments in Logic

Though none of the software instruments that come with Apple's Logic DAW/sequencer support multitimbral operation, the program does support multitimbral operation with Audio Units synths and samplers. There are two... Read more »

Komplete Instrument Support

If you're using Native Instruments Komplete, keep in mind that Kontakt can open and play the instruments for any of the Komplete synths that utilize sample playback, including Akoustik Piano, Battery, Elektrik... Read more »

Set Your MIDI Free with Wireless

This tip is from Daniel Fisher who uses complex MIDI setups with his band Pink Voyd (to create the multi-layered textures of Pink Floyd: "One of the best features of modern synths, guitar processors, and other... Read more »

Using the Symphonic Cube with a USB MIDI Controller

In some instances, we have found that when using Vienna Instruments' monumental Symphonic Cube with an M-Audio USB controller, the two won't always communicate. There are two simple fixes you can try: First, unplug... Read more »

Assigning Knobs, Sliders and Buttons in Reason 3

Using Reason's MIDI Learn function (which is also called Remote Override Mapping), you first need to make sure your MIDI controller is properly configured and that the correct drivers are installed. This is done in... Read more »

Maximizing Subwoofer Performance

Here's a simple tip you can try that just might improve your subwoofer's (and therefore your studio's) bass response, because as we all know, there's no such thing as too much bass. If you have a large set of... Read more »

Decoupling For Clarity

A studio monitor, subwoofer, or guitar, bass, or PA cabinet, or stage monitor doesn't operate in a vacuum, it interacts with the room around it. A big part of that interaction results from the surface that the... Read more »

Automating Reason Parameters in ReWire Mode

Q: "If I have Reason ReWired into a DAW, is there a way to automate the control parameters of the Reason instrument from the host DAW?" A: Yes. The following comes from the Propellerheads website and tells you how... Read more »

Using limiters for in-ear monitoring

The advantages of in-ear monitoring systems (IEM) are many, the most obvious being reduction of high sound pressure levels (SPL) on stage, thus producing a cleaner FOH mix as well as reducing possible hearing damage... Read more »

Getting the Most from the Bomb Factory PSA-1 #2

Last time we talked about the basic functions of the Bomb Factory PSA-1. Today we'll talk about using the PSA-1 on a drum track, either to beef up the track or as an effect. It's no big secret that bussing the drum... Read more »

Input Monitoring using Meters

We've all been told that the key to great digital recordings (or analog for that matter) is getting the hottest signal possible to the hard drive (or tape) without clipping. Since virtually everyone is using some... Read more »

Getting Loopy with Gibson #3

This is the third in a series of Tech Tips designed to show you some of the exciting live performance possibilities of the Gibson Echoplex. Last time, we told you how to create an audio-controlled stutter effect... Read more »

How to bring drums forward in a mix using the Sony Oxford Transient Modulator (Part 10)

At this point, we've covered all of the controls of the Trans Mod. If you've been following the series, you're probably anxious to get to the application mentioned in part one. However, before we do that, there is... Read more »

Bring Drums Forward Using Sonnox Transient Modulator

In the first part of this series, the question was raised whether EQ or compression could be used to bring drums forward in a guitar-bass-drum submix. The answer was, in a nutshell, "not really. " The best solution... Read more »

Quickie Guide to DAW Mixing, Part #20

As we mentioned in the previous tip (QGM 18), vocal sibilance, that annoying "sss" or "sh" sound, can play merry havoc with our ears. However, if we cut EQ in the high frequency range where sibilance occurs, which... Read more »

How does a limiter work?

For the answer, we'll turn to our friends at Universal Audio, who practically invented compression and limiting as we know it today: For a limiter to keep its output signal absolutely below a given level, it has to... Read more »

Quickie Guide to Mixing, Part #15

In the previous tip (Part #14) we discussed equalizing guitars individually. Now we're going to talk about EQ'ing multiple guitars to fit in a mix. Let's say you have three guitars panned left, right, and center... Read more »

Controlling the bass without a compressor

The electric bass is the foundation that a song is built on, but even the best players sometimes struggle with keeping the levels consistent. Erratic levels are normally tamed by inserting a compressor. But due to... Read more »

The quickie guide to mixing, Part 12

In the previous tip, we discussed adding "air" or extreme high-frequency content to vocals and possibly other instruments. Let's move down the frequency spectrum a bit to the high treble (or top) and lower treble... Read more »

Isolating the snare mic

There are a million ways to mic a snare drum. A common method is with a dynamic mic slid ever-so-carefully between the hi-hat and snare. But have you ever soloed the snare track and heard more hi-hat than snare? Due... Read more »