A technique surfaced through Bobby Owsinski’s work that deserves attention—not because it’s entirely new, but because it names something many mixers already do instinctively. It’s often referred to as the…

Today, I want to share some thoughts I’ve been having about reverb—specifically how I tend to think about it when making decisions in a mix. What I’ve done is divide…

Reverb is often one of the biggest conceptual barriers for people learning to mix. Compression and equalization tend to feel easier to grasp because their effects are immediate and clearly…

Conventional echo and delay effects operate at delay times of 70 milliseconds and greater. At these longer delay times, the ear perceives discrete repeats rather than a fused or comb-filtered…

Phasing, flanging, and chorus belong to a specific family of time-domain effects that rely on extremely short delay times. Unlike echo or delay effects that produce clearly audible repeats, these…

Slap delay is one of those effects that feels simple on the surface, yet opens up an entire world of depth, width, and character once you start pushing it beyond…