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A big, moist dollop of pomade in the ears smooths out the high end in a very nice way. Really though, I'd guess that a lot of the signatures of a 60s record came from the tracking and mix itself. Only guessing, though, absolutely no experience with 60s methods. http://i20.photobucket.com/albums/b237...

A while back we tracked a song live in someone's living room in a flat in London, vocals, guitar and a weird electronic wind instrument thing through a speaker. It was the start of a busy couple of days of tracking, so we thought we'd take "an easy one" first and the take was good. In hindsight, my ...

By replacing a whole badly-recorded drumkit with samples, kick, snare, toms, hats and cymbals, whilst trying to retain the original performance dynamics.

Verdict: sounds alright, but takes a ridiculous amount of time. Not recommended.

http://www.yousendit.com/download/YkxLc ... bVUwTVE9PQ

http://www.youtube.com/watch?v=KeHxfIta ... re=related

http://www.youtube.com/watch?v=vglu4cjZ ... re=related

Late additions: Jetone, The Field

I like Loscil a lot for droney beats. Tim Hecker is worth a look as well.

Just started mixing this tune - it has a pretty prominent bass and piano part, and they tend to get in the way of each other at times. I'm still a learnist at mixing so I'm unsure of how to attack the problem in a way that'll result in clarity of both parts whilst maintaining solid low-end; EQing an...

The original(!) tubes in my '66 Gemini I G-12 are starting to become a little too microphonic for comfort. This thread is useful reading for what tubes are on offer, but does anyone have any specific experience with a Gemini?

I have a very boomy cello track that's been causing me a bit of pain, I've attacked it with a multi-band compressor and EQ, but can't find a good compromise between low-end control and retention of performance zing. This is the part in question, in the context of the mix, with a good whack of low-ba...

I'd stick to compensating with faders and recording subsequent tracks at a level you're more comfortable with. If there isn't any clipping, there's no need to touch the files: a little volume compensation is all you need, it's better to do it with the faders (which will be processing the signal anyw...

GRM Tools!

http://www.grmtools.org/

What's the theory behind getting 25% compression on the neoprene?

I'm curious - just bought some neoprene foam to do some DIY chopping.

It depends on what type of music I'm working on, but for pop music I have a rather unhealthy obsession with referencing John Vanderslice's work, particularly the Pixel Revolt album. The recording diary on his website (not all that detailed technically, but a good read) gives a few interesting insigh...

Just recently I noticed a little flutter echo in my monitoring position, so I slathered some paste on the walls each side and threw a bucket of sand at it - the grains diffuse the echoes wonderfully.

Have to be proper dodecahedrons, though, none of that spherical bullshit.

Can you post a picture of one of the dodgy waveforms?

As a rough guess I'd say you've got a fault in the input chain that's rectifying the signal, or shorting either the hot or cold signal to ground. Cable is the prime suspect.