Why tuning is important

Setting up the headphone mix How to organize for a recording session Recording a bowed upright bass Recording a pizzicato double bass The rule Tidy up! Recording a hardware synth The bothers of a home studio The importance of good tuning Recording drums — Introduction Recording drums — Mono Room Recording drums — Overheads and the A-B technique Recording drums — Last advice on overheads Recording drums — The snare drum Part 1 Recording drums — The snare drum Part 2 Recording drums — The kick drum Part 1 Recording drums — Aligning the kick drum tracks Recording drums — Kick drum mics Recording the snare and kick at the same time Recording drums — First rough mix Recording drums - A matter of perspective Recording drums — Panning Recording drums — Hi-hat cymbals Recording drums — The toms Recording drums — Stereo Room Part 1 Recording drums — Stereo Room Part 2 Recording drums — Stereo Room Part 3 Recording drums — Stereo Room Part 4 Recording drums — Layering Recording drums — Tools for layering Recording drums — Layering in practice Recording drums — The importance of the musician Recording drums — Rough mix possibilities Recording drums — Last advice Recording yourself Life-saving shortcuts Recording bass guitar - Prerequisites Part 1 Recording bass guitar - Prerequisites Part 2 Direct recording a bass guitar Recording a bass amp Recording bass guitar - A matter of phase Part 1 Recording bass guitar - A matter of phase Part 2 Recording bass guitar - Putting the perfect sound together Recording bass guitar - With or without effects?

Recording bass guitar - Alternatives Recording bass guitar - Tips and tricks Recording bass guitar - Naming names Doing away with the complexes Talking mics Getting to know your gear Recording electric guitar - Prerequisites Part 1 This method is a bit harder to do, but the benefits are greater, too. We use the property that the note of the open strings can be found on the other strings. If we want to tune the string next to the thickest string, all we have to do is play the fifth fret of the thicker string and then the open string next to it.

Then we change the pitch of the open string until both notes are the same. We can then go on to tune the D and G string in the same manner. Play the deeper sounding string in the fifth fret and the next string open.

Once we get to the B string we have to be careful. The B string is tuned to the fourth fret of the G string. Finally we tune the high E string to the fifth fret of the B string. The problem here is that one string has to be in tune already. You can achieve that by using another instrument that is in tune already and tune your corresponding string to that note.

Tuning forks are another useful device. They are typically tuned to the A note. So you would have to tune the second thickest string to the note coming from the tuning fork.

Her repertoire ranges from Renaissance and Baroque to Modern and Experimental music. She is a prizewinner in over 20 national and international competitions and has received awards from Bulgarian Ministry of Culture, Bourgas Municipality and Bourgas Rotary Club.

Alexandra enjoys a busy life between solo and chamber music engagements and also works as a church organist. In Amsterdam, Gary became very interested in early pianos and their link to the great Classical and Romantic composers. Returning to the UK, he discovered Finchcocks Musical Museum, a specialist centre for period keyboard instruments. He is presently involved with the development of the Finchcocks Charity. He has performed across the UK and abroad as a solo pianist and accompanist.

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