Who founded XL Recordings
XL Recordings is a British independent record label founded in 1989 by Tim Palmer and Nick Halkes. It is run and co-owned by Richard Russell since 1996.
Related questions to Who founded XL Recordings
The NAICS codes for XL Recordings are [713, 71]. This company is a Limited Liability Company and its classification code is 713. The second number in the classification refers to what type of company they are; this one being an S Corporation with assets of $5-$25 million.
XL Recordings is based in London, Greater London. This company was formed by Richard Russell and Tim Palmer with the goal of putting out records that are daring but not experimental or obscure. XL also does a lot of reissues and compilations for major artists like The Beatles, David Bowie, Bob Dylan among others – over 3 dozen to be precise!
Jon Wilkinson, the Head of Press at XL Recordings in London, United Kingdom is a University educated man who has been working with press relations for over 18 years. During his time at Technique Publicity he developed an expertise in publicizing artist and band music to help them gain greater exposure on radio stations such as BBC Radio 1. Jon’s clients include Daft Punk (French House), Foals (Rock/Punk) and Primal Scream (Grunge). In 2003 He also started managing publicity campaigns for The Rolling Stones UK tour that year including News International’s “Who Are You?” campaign which ran before every TV programme broadcast across ITV1-4 channels between July 2005 – April 2006.”
Scott Wright is the Head of Creative and Marketing for XL Recordings. Scott’s role includes design, art direction, marketing strategy development and execution across all platforms; including physical product distribution (CDs/vinyl), digital music sales & streaming services such as iTunes or Spotify, merchandise licensing to third parties through their online store www.xlrecordingsstore.com and other retail outlets around the world like Urban Outfitters in North America & HMV UK among others.”
Dan Coyle is the Head of Social and Marketing Content for XL Recordings.
He’s an American from Chicago who studied journalism at Northwestern University, where he was editor-in-chief of his university paper. He started a blog in 2009 to cover music industry news called “The Altered Sound,” which led him to work as Managing Editor at Pitchfork Media before joining XL Records in 2012
To master the setting for Mid-Side compression in mastering, you can choose to compress the side or mid more.
If your desired result is a wider image from having compressed the mids too much then make sure that when compressing with this type of compressor there’s enough left on either end of it and not all at one point.
Mid-Side EQ is a powerful tool that can be used to manipulate the stereo image of vocals and other instruments in your mix. It’s very simple: you just insert it on top of one or more tracks, click its “link” button, so they are all linked together with sliders (which save as automation), move each track up & down until what sounds best for them comes through, then create an instant volume change by adding or subtracting gain from this center channel where both sides come together into mono.
The lead vocal will usually need some kind of boost in the middle range because we want it to sound louder than anything else when panned to the center!
Mid-Side EQ is a superb tool for sound design, but it can also be used to create surgical enhancements. Mid-side EQs allow you to work with subtlety and precision because they have the ability to separate instruments in your mix by manipulating the width, depth, or stereo placement of each track.
Mastering is an art. When using a mid-side saturator, I’d separate the signal into 4 bands and then make the distortion on bass as well as vocals happen only in the middle of that sound (mid) while making it so that other frequencies such as body are spread or pushed to either side of this center point which makes them less intense but also more wide sounding at once.
This setup gives you sharp highs with hollow lows without sacrificing any power whatsoever–which means louder mixes for your listeners!
Mid-side EQ settings can be tricky to master, but with this easy tutorial, you’ll have them mastered in no time. If you want the vocals more focused and mono while still hearing all the low-end frequencies from a side-channel like drums or bass guitar, follow these steps:
1) Use a high pass filter on one side (usually labeled “high cut” or “low shelf”). Set it to 2kHz for example. This will remove any frequency below that point so what’s left is just mids without too much vibrato happening around 100Hz – 500 Hz range because some sound sources produce most of their energy there which would make your vocal seem woozy since those are close together frequencies.
Making your master Mid-Side is easy and can be done in a few ways. To make my Master mid and side, I’ll duplicate the track (making it an exact copy) use MSED by Voxengo, then mute one of each: The Mid on Track 2 and Side on Track 1.
After that’s completed, labeling them respectively, so you know which will come out as what later!
What’s great about this method is being able to adjust both width sounds with just these two tracks’ amplitude levels.
Mid/side EQs are great for adding depth, space, and width to your tracks. To make a mix sound wider, start by rolling off the lows in mid-channel while boosting highs on the side of that track from 20khz up when needed as you see fit depending on specific needs (such as cutting 60hz).
This process can be done either manually or using automation tools such as volume sliders which allow more scalability.
Mid and Side EQ in mastering: A powerful tool when shaping the stereo image of a full mix or individual elements. You can create width by changing the balance between mid-side levels, for example widening is achieved with high frequencies boosted on side-channel while attenuating low frequencies from your desired element’s main stem would widen it out too much, so you may want to cut some highs off that signal instead.
Mid and Side EQ in mastering is a great way to enhance the stereo sound of your mix. It does this by allowing you to work with surgical precision on frequency-specific parts within an audio signal, which will help reduce unwanted noise while still maintaining clarity.
Mid and Side mastering is a technique that allows the engineer to separate out left and right signals into two different images. When observing these two types of channels, it can be seen how the Mid-image resides at 0 degrees or centered while the side would reside at 180 degrees.
This process may seem basic but in reality, there are some unique routing methods that need to take place before this effect will activate correctly, which also requires specific plugins for each type of signal being sent from one channel/track on your DAW software-based recording environment.
You can use multiband compression to master your audio track using the FabFilter MB Multiband Compressor.
You need a range of frequencies from low and high, so you should set up some bands with this compressor by enabling it on each section separately for instance, “bass” or “highs.” This is done when setting parameters such as amplitude and how responsive the signal will be in relation to changes.
When doing mastering like this, it’s important that there are no loud areas because they may cause distortion if pushed too far before reaching 0dB once again. Although any change made could make other aspects worse while bringing out new parts (like changing dynamics), what matters most about mastering music is making sure nothing stands out negatively overall!
I also took my time to experiment with the attack and release of each band in order to make sure that distortion was eliminated. I also ensured transients were retained through these changes, which made for a more impressive kick, vocal, and high-hats. With oversampling enabled later on as well (which reduces peaking), you are left with an even better sound than before!
You can use the FabFilter Pro-C2 compressor to master your tracks. It has a mastering algorithm that is perfect for subtly compressing and amplifying different parts of the sound spectrum, such as midrange frequencies (which are typically located in vocals or guitars).
This particular compressor has many settings that allow you to customize it perfectly for your needs. For example, with this specific one I wanted my track’s mid-range section amplified a little more than usual, so I used its “Mastering” mode on these sections while using gentle compression over other frequency ranges from low-mids up until high-end highs. This resulted in an overall boosted vocal timbre without clipping any peaks too much!
The last thing I did was enabling low and high pass filters to affect only the mid-range frequencies. To make sure this would work, I enabled oversampling so that quantization accuracy is improved which will help avoid peaking later on. Lastly, in order not to clip any audio at all while recording it’s best to slightly reduce output volume during a session when you’re done with your song or project for final mastering purposes!
The first step of my process involved activating both low and high pass filtering within the Side-chain section; these were important because they would be affecting just the middle frequency range after everything else has been mixed together seamlessly once more. In addition, by being able to use oversample mode (which increases sensitivity) – as well
The best way to use low-level compression is through the UrsaDSP Boost compressor.
With highs tamed, I could now start amplifying aspects of the signal that I enjoyed. Knowing this plugin’s limiter would kind of be cheating, I made sure not to engage it and keep max gain at 3dB so that maximization and low-level compressors didn’t amplify too much either.
There are pros and cons for using a high level of compression on audio tracks in mastering: Pros include an increased sense/sensibility or punchiness which helps make claps more audible; Cons because some people think they sound “squished” and unnatural when overused. Listeners may also find them fatiguing after prolonged periods.