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…

Tape delay is built on a set of five primary parameters that define how time-domain effects behave and sound: Each parameter shapes how audio is repeated, altered, and degraded over…

Time domain effects were first made possible when sound engineers discovered they could exploit the physical gap between the record and repro heads of a tape recorder. This simple mechanical…

Time domain effects are created by making single or multiple copies of a source sound, delaying those copies in time, and then mixing the delayed signals back with the original.…

By Jatari Compression versus equalization is one of those topics that never truly has a single, definitive answer. It is not a rule-based decision. It is a context-based decision, shaped…