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hey, i've searched the forums and i can't find the thread where someone posted a good player.

i need a good player for when people want to here a sample of some of the recordings made at my studio while they are browsing my site.

any idea?

been searching the forum but couldn't find a dedicated thread. i'm kind of over using the old 57 on snare. when i had access to it, i liked the sm beta 87. but i haven't had experience with much else. what's the mic you always throw up first? also wondering about bottom as well. i have been using a ...

do your mastering at aardvark and press at united or bill smith. mostly just don't get the pressing plant to master your record.

i figured as much. thank you.

here's one for you: if i have a mix that was bounced 24 bit, and i import it to another session, for crossfading or any other reason, do i risk losing any quality if i bounce it down to 24 bit again? i've always just been a little suspicious, i mean, i know it wouldn't be a drastic change, it would ...

mine is doing great. i just went with the 2.6, 2gig of ram setup. and i still have 7.1. i haven't had any problems at all, and have yet to have an issue running a 32 track mix with lots of comps/effects/verbs etc. one of these days i might see just how many verbs it takes to actually run out of juic...

you shouldn't have to pay anything. just search the site for the intel-based mac updates. and i'm not sure if waves supports 7.3 yet. i would hold off for a bit, if it doesn't. when i got my new mac pro, i had to update EVERYTHING. pain in the ass.

i can't take credit for this because i read it in tapeop, i can't remember who said it though, maybe billy anderson...

something like:

"i know i've done my job when every person in the band thinks that they are the loudest!"

i love that!

anyone here heard it yet? anyone here familiar with her? just interested to see if anyone here listens to her.

www.myspace.com/janahunter

or

http://www.pitchforkmedia.com/article/n ... free-tours

I tell my clients that I'm not a mastering engineer and no amount of plugins is going to do a project justice in that regard. Besides, I mix to tape. If you're looking to take money from people, tell them you can do it, otherwise, refer the work to a 'real' mastering facility. did you read my post ...

as an engineer/mixer i don't really ever have to master stuff, but i get a lot of requests from bands i record demos for to master their tracks. normally i will just throw an L1 on there and MAYBE a C4 if i can get it to sound ok. i would like to learn more about the process and was wondering if the...

okay, i know this is silly, but i have a client that has told me that they are going for a buzzcocks "steady's going single" era sound. now i am fully aware of the whole "the only way to get that sound is to have the same people play the same gear in the same studio" thing, and i will be giving them...

Are you on windows? I have one of those "porche" lacie drives and it is absolute junk. I've had negative experiences with 3 different "porche" drives that my friends own and they all suck. Mine was acting similar, not allowing me to back up to it anymore (I stopped trying to record on in long ago)....

i would say just go for the 57 on the kick and throw the mxl over the kit, a couple feet, and you should be good. or for kind of a weird (but interesting) stereo sound, you could just space both of them out in front of the kit a few feet back, space them out so they are pointing straight at the kit ...

i record this type of stuff all the time, and i almost always have to reach for the waves C4 (multiband comp) i'll just bypass everything but the low band and move it around until i get the trouble spots. works well without killing the tone, just keeps things under control.