The question is: “With music being compressed into small music files, has the rise of digital music distribution affected the recording and mixing process of artists you have worked with? If so, how does that show on the music carried on people’s iPods?” Having stated his case clearly, Marcel describes some of the potential sources and causes of “poor quality” audio, as well as extolling the virtues of digital audio when used to its full potential. Sample rates, bit depth, word length and digital distortion are all discussed here as well as some techniques that can prevent digital distortion when transferring flies between platforms.
How have your microphone choices changed when working with Tori in the studio and live?
When recording vocals, what is your suggested position for the mic, how far would the singer be from it and how might that vary?
What is your favourite creative effect to use in production besides EQ and compression?
What is the most challenging thing when sound engineering for Tori Amos?
How can I make live drum recordings sound more vintage and aged?. This simple question has a simple answer: Use vintage equipment and recording techniques. Easy? Of course not. "