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Hey there, I played in a band with two basses for a long time. It can be tricky. As everyone has said, you are right to consider this in the compositions. Also, you could try to separate your process at every stage. Different electric basses with different personality (ie. Fender Jazz bass and a ric...

Hey there, Try a different type of mic/pre for the Hi hat to separate it from the OH's. Trashy dynamics that make the hi hat grind are always my favorite (SM57, SM7, 441 etc.). A close mic might have not even been used in this example but it is what I always think of when putting a mic on a hi hat. ...

De-esser them room mics. helps alot sometimes ... Also if they are that loud in the rooms they are probably loud on the snare mics as well so be careful not to compress and eq in truckloads of hihat while pleasing your snare needs.

Yes - so happy to see the love for old Scissorfight records. What I have seen through recording metal stuff for years is that all the technology and studio trickery has defined the sound of the genre and therefore homogenized it. The genre is in the same place as commercial country or commercial pop...

I always think once you have the drummer on your side it frees you up alot. ideas for helping this happen would be laying the drums out drummer perspective, putting a room mic right over their head or shoulder, tell them you love rush etc. Most peoples perspective of drums are as one instrument and ...

ha .... thankyou for the kind introduction.

There is an outside engineer at the studio this week so it seemed like a perfect time to stay in pajamas with a big cup of coffee and see what this internet thing is all about...

I love these mics. Joel lent me one years ago and I immediately ran out and found one. They are great on all mentioned applications and fantastic as room mics on drums as well. They naturally control cymbal to drum ratio and they react to compression and overcompression extremely well. I would sugge...