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How to record drums with two microphones and Duet 2

by Apogee’s Chris Lawson

When it came time to add music to the Duet 2 launch video, I asked Jingle Punks to write it.

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Writing a song for the Apogee Duet 2 video

by Apogee’s Chris Lawson

Just about anyone who produces video will tell you that audio plays a major role in great video production, and if the audio is bad, you will lose your audience.

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How to set up an A/B test with Symphony I/O, Avid I/O, a Lynx Aurora and a 192

by Engineer & Producer John Paterno

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From Demo to Final Mix- “The Preacher’s Kid” Soundtrack Recorded with the Apogee ONE

by Singer/Songwriter Lisa Simmons

Avant Garde Sound Designer Diego Stocco Uses His Apogee ONE To Record ‘Dustland’

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How to Record a Live Band in Small Spaces

By Engineer Kevin Harp

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Photo Diary: Recording On the Road with the Goo Goo Dolls

 

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The Recording Process with Vaughan Merrick

by Vaughan Merrick, whose engineering and production credits include Amy Winehouse, Mark Ronson, Depeche Mode, Santigold, Miike Snow, and many more. He is a Grammy Nominated Engineer for Jason Mraz’s “Mr. A-Z” and a Grammy Winner for Amy Winehouse’s “Back to Black” Record of the Year and Female Pop Vocalist. Vaughan is the owner of an Apogee Symphony System with AD/DA-16Xs and a Duet.

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Recording Gear for the Creative Process with Trivium’s Matt Heafy

by Matt Heafy, Lead vocalist and guitarist of Trivium

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Q&A with Trivium’s Bassist Paolo Gregoletto

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Diego Stocco Records “Imaginary Hummingbirds” Entirely with the Apogee ONE

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How to Write a Hit Song

with Producer, Songwriter & Hit-Maker Wayne Wilkins

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How To Remix a Song with Steve Aoki

How to compose for TV and Film with Michael Levine, Pt.2

How to compose for TV and Film with Michael Levine, Pt. 1

How to record jazz with Bob Clearmountain

When Apogee opted to throw its annual NAMM party at the Jazz Kitchen in Anaheim, California, no one expected a band as fantastic as Kenny Sara and the Sounds of New Orleans. Far from a typical house band, the group took the stage in front of a few hundred producers, musicians and sound engineers – just a slightly daunting task- and blew everyone away. Bob Clearmountain was so blown away in fact that he invited the jazz band to record at his and Betty Bennett’s privately-owned Berkeley Street Studios in Santa Monica.
 

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