EQ and compression are the two processors that do more to a recorded signal than anything else, and the math underneath both is simpler than the plugin GUIs suggest. We walk biquad filters, the parametric EQ math, attack and release in a compressor, the look-ahead trick, why the same algorithm in a $50 plugin and a $5000 hardware unit can sound surprisingly different, and where the money actually goes.
Mixing
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DSP for Audio -
Live Sound Engineering Live sound is a completely different engineering problem from studio mixing — the room talks back, the band hears its own monitors, and the margin between sounding great and feeding back is a few dB. We walk line arrays versus point-source, the gain-before-feedback budget, in- ear monitor design, and the honest gap between studio and FOH.
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Room Acoustics for the Home Studio A bad room can make a great microphone sound mediocre, and the treatment that actually fixes it is unglamorous, larger than the internet implies, and almost never what foam-tile marketing sells. We walk what room modes do, why bass traps need to be physically enormous, the difference between absorption and diffusion, the honest gap between "soundproofed" and "treated for recording," and the practical first-room treatment plan that actually works.
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Audio for Live Broadcast How to get clean, professional audio into a live stream — taking a dedicated broadcast send off the sound board, the broadcast mix versus the house mix, embedding audio into SDI, audio-to-video sync, loudness targets for streaming, and a concrete end-to-end broadcast audio chain.