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Do you mean "Jazz Improv Soloing DVD Course by Carol Kaye on Guitar", or something else?

have a link?

Just for clarity's sake...

The Beatles used ADT (what EMI called their tape delay system to create Artifical Double Tracking), but not an "ADT unit", like the Scamp module (which is just a delay, much like any other)

I don't think the problem lies in the spirit of the young people, the problem lies in the people who run the studios. well that's right! and not only becasue of WHO they hire, but because they are no longer really in the mentoring BUSINESS... there's no chain anymore. No producers teaching engineer...

why is it that virtually no matter WHAT anyone asks, the answers always seem to include "roll some low-mids out"??

seriously, it's WAY overdone.

MOST of the sound of what makes real upright bass sound like upright bass is that it's very low-mid heavy.

I'll bet that the ones who go blank just don't KNOW what to say and don't want to admit it.

the closest thing I've found is this: http://www.roballenguitars.com/info_mb2.html but you can also put thsoe nylon tapewound strings on any fretless, stick some foam under the strings as a mute, and try to adjust the tone to sound as close as you can. I also did one tour using a Roland V-Bass to do...

I'm looking to sell my little rack of 4 Quad Eight gates in a small "lunchbox" with power supply that were racked up that way the The Record Plant, NY... they also have a second panel in the box that adds additional control over parameters that weren't originally provided (also, custom Record Plant ...

I very often throw a bunch of heavy moving blankets over the bass drum for this very reason. I want the whole kit EXCEPT the bass drum to be prominent in the room mic(s)... I like the bass drum to sound CLOSER... so by blanketing, I attenuate the level of bass drum in the room. Much better to deal w...

I never compress drums (except room mics), but otherwise, I probably compress almost everything, in a pop rock band, going to tape.

I don't generally compress strings, horns, percussion.. that sort of thing.

but guitars, bass guitar, keyboards, vocals, etc. almost always.

Grow up. BOTH of you. Sounds more like you enjoy the bickering. I could mention a famous rock band that would book the studio at 1pm, and the engineer and assistant would naturally HAVE to be there at 1pm, and then around midnight the singer would turn up at the door ready to go. and this is a name ...

Yes, exactly.
the problem IS from the top down.

There are fewer real studios.
Fewer BUSY studios amongst them.
Fewer staff engineers (if ANY) from whom to learn.
and so on...

In my view, what's lost is the SYSTEM of mentoring that the better studios always provided. How many terrific engineers and producers came out of Trident or AIR or Record Plant? It worked because it was top down. That is, the only way you got to do it was by getting to a place where it was done and ...

the other part of that equation is that when you DO have the real deal at 'the source', THAT'S when the little things you do, the subtle decisions you make, start to MATTER. On the guitar player who can't seem to get a sound no matter what, it doesn't much matter WHAT mic you use. I don't mean it's ...

It depends greatly on the drummer and the room. But I often use SM-7 in bass drum KM-84 on snare 2 U87's or Gefell UM70's - one over high toms (about 1.5 feet) panned right, one on the side looking in at the floor toms from ab out 1.5 feet away panned left. or, in another room... the bass drum and s...

I've made lots of hit records and NONE has ever added backwards or other subliminal messages.

I did it once on a record (that was NOT a big hit) more as a joke than anything else... but it's certainly not common