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Had the same thing happen with a shootout between an: SM7, TS2, and a U87. Everybody chose the SM7. I love it on most things even though its considered the 'cheapie' of em all.

I forgot to add: Work with people who know what they're doing. Not someone who bought a bunch of gear for a home studio and doesn't know how to work any of it. It seems like most the business I've gotten lately is from people wanting me to 'fix' badly recorded tracks in the mixing phase. Just get it...

Probably going to go with the SM7 in the end as I thought. SM7 to API to 1176 to LA2 to tools, now thats a vocal chain! Thanks for the words of wisdom.

Yeah the vocalist is male. I kinda figured on using the SM7, just because I end up usually using it quite a bit. I'm curious about the RE20 just because a friend reco'd it, but who the hell knows. Thanks for the suggestions so far and I always appreciate more.

Now I know this could be perceived as a stupid question, but I don't really care. What do you guys like for Hip Hop Vocals? I'm used to recording mainly rock, but have a session coming up for a hip hop band with live instrumentation.(It's gonna be fun!) Anywhoo I know my standard vocal mic selection...

I've found slightly panning the bass slightly left or right sounds kind of cool. It also helps both the bass and kick stand out more with its own distinctive space. Course when going to school I generally kept it center or hard panned. Have been experimenting lately though.

1) Drum sound! (Probably my main reason)
2) Good mics/pres for vocals.
3) Mixing (I've always loved a good mix room.)
4) Atmosphere
5) Can work late into the night without those annoyed neighbors.

Haha. Still haven't seen a coherent reason as to why this thread should remain. I'd shut it down Chris. Everyone has a different background, and has different reasons for doing what they do. I don't understand the complaint I guess....

Interns that get opportunities are those that work 5 times harder than everyone else, and the studio believes that the intern could make them money in the long run. Believe me just because you work hard and know your shit doesn't necessarily equate to getting into the studio. At least that was my e...

Contracts and prepay. You still get paid for the work you've done so far, and if things don't go the way you want/expect them too, give em the tracks and wash your hands of the whole affair. Additionally, even starting out you should ask for at least something for payment. If you work for free peopl...

Two days late but...., placed drum mics, cried at the floaty tempo. Sat in a dark room for hours on end, somebody brought me a burger. Went home, and couldn't help but hear drums in my head whilst trying to sleep.

Hope thats a compliment(heh). Since I've been mainly engineering/producing for other bands, I haven't really had the time to just sit down and write out some tunes of my own.(and I haven't played in any bands for about 3 years, since I've been pursuing the whole engineering career dealio.) I ended u...

"I'll make you cool music and interesting noise." I agree with Chris, I think most lines on business cards actually have the opposite effect on me. This line in particular seems somewhat awkward, and may actually hurt your chances rather than help them. I would go just for the straight facts on the...

Meh, most of the studios I've worked at have comped me some sort of half day before the session to check out the board and understand the routing(if i hadn't been there before, or used that particular board). Just mainly as a courtesy to me, to make sure that I would want to bring them more business...

Sorry too say, but I feel that interning now-a-days is an entire waste of time. All you really need to know is studio etiquette. The best way to "get your foot in the door"? Bring paying bands into the studio and engineer your own projects. As far as I know most studios will not offer you work unles...