This is a guest post from Jeremy Luscombe at

So you are ready to take your first foray into DIY recording. You are armed with some monitors, a mic and a recording device, neatly arranged in your bedroom.

It looks great; but is it going to sound great?

Music recording technology has come a long way since the expensive and cumbersome reel-to-reel tape machines of the 1970s.

Back then, the ability to produce a clear recording was a luxury reserved for wealthy artists and recording studio professionals. Luckily, this is no longer the case.

With the advent of digital recorders, DAWs, MIDIs, editing freeware and increasingly available studio hardware, the exclusivity of good quality music production is a thing of the past.

While we are all celebrating the abundance of creativity and new music this has unleashed into the world, for the DIY recorder there is more to a good final product than quality equipment.

The greatest challenge for home studios is often the rooms themselves – small bedrooms, basements and granny flats. Left untreated, these spaces can create problems with the details, balance and timbre of your mixes.

Your standard rectangular room is more nuanced than people give it credit for.

The room’s dimensions, surface finishes and general construction all create a unique acoustic environment; and this environment will invariably affect the quality of your recordings and mixes.

If you don’t take stock of at least the basics of room acoustics – room modes, reflection points, low frequency accumulation, monitor placement and sound isolation – your DIY recording can be more disappointing than a cause for celebration.

Don’t stress, though. A few small tweaks and a modest budget can help you create the type of acoustic environment that will give you an accurate recording every time.

Use the following guide, put together by Resonics, to get that professional touch to your home recordings.

’GuideCourtesy Of Resonics


In this episode, I update you on how my EP deadline went. I also answer questions about stuff like reference mixes and task scheduling.

I went off the reservation a bit here, taking more time to answer the questions more in-depth. 45 minutes of great content just for you.

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In this episode, I answer questions about stuff like re-amping and the cure for bad business relationships with clients.

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I attended a Sandra McCracken concert here in Nashville a while back. (She’s one of my faves. Check out her music. You’ll thank me later.) The venue was fairly small and crowded, but I managed to get a spot right next to the sound guy.

I love being next to the sound guy.


Really good sound engineers are always actively mixing. They don’t “set it and forget it,” then sit down to play games on their phone.

This guy was a pro. He had silver hair down to his shoulders. I’m fairly certain there was an earring or two, maybe a few tattoos. He was probably in his fifties, and I got the sneaky suspicion he had mixed many shows in his career.

Sadly, whenever I come across a music industry veteran, I expect him to be a cynical, crusty, angry old curmudgeon. But this guy was something completely different. Read more »