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FWIW, I have 3 favorite approaches, altho' I'm always fiddling with stuff. Right now: 1. The Brick into a dbx 160XT 2. Meek VC3Q 3. 1176 clone as pre (the "no buttons in" option) into the dbx 160XT I'll then usually pass filter and touch it with a limiter, ITB. I picked up a VCQ3 awhile back and di...

the subkick will definitely vary depending on the speaker. I tried a lot of speakers and some just sounded bad, others sounded OK and one or two sounded great (to me at least). I found that something in the 6.5-8" range and usually with a foam surround seemed to work best for capturing the boom. I ...

I have also seemed to get more thud out of smaller diameter kick drums in general; however my house kit has 1982 Slingerland shells, with a 22" kick. I built my own sub-kick out of another 22" kick that I found at a yard sale, I think it' a Ludwig (assuming it is from the blue sparkles). I mounted a...

>>>>I'm still learning them (obviously) but I was just hoping someone knew of a trick or two for dealing with such a large room.<<<< The advice I got from Bob Olhsson (Motown great) will go with me from now on to any new facility I'm involved with large or small (or anywhere in-between). In a nutsh...

Thanks all for the advice. First, I only use my headphones for editing/scrubbing tracks and to check the low end; they get me closer to what I need than the monitors. I have the sub, yes, but it's usually on mute. I will check mixes with it on, but it's off 95% of the time. I just mentioned it in ca...

I am currently mixing in a 1,700 sq-ft room. I have some bass traps in the corners and plenty of things to soak up sound waves, but am having an extremely hard time getting my low-end sorted out. I am using a pair of Yama HS80's with the sub, as well as several sets of headphones, the ATH50's being ...

nobody, really wrote:My favorite is the "compression" bunny.

So genius.

I personally giggled at the Lo-Fi bunny after recalling Larry's reply to a letter a few issues back regarding "the Lo-Fi trend"

As with anything, it's all dependent on the situation; I obtained a (free) nice one (seven 3' panels hinged, eight feet tall, and one of the end panels detaches so you can clip it on top sideways). It mainly depends on the mics/mic technique IMO. Glyn Johns method, obviously not. But sometimes I hav...

Thanks, all! I tried every suggestion! I ended up running one of the OH's (snare side) through a de-esser very lightly. I ended up putting a few notch filters in, around 300 and 900 and then ran it through an old Ampex 1/4" reel-to-reel- I didn't even have a reel in, I just ran the signal through an...

Brian wrote:What city, Ken96?

Flint, MI

Have tried the LPF (it seems to make them more harsh), but hadn't thought of a De-esser. I'll try it right now!

I recently took on a mixing project for a client who recorded the tracks in his home studio. Surprisingly, it doesn't sound too bad :wink: . He recorded the band live, over dubbed the vox and the another guitar, used a bass DI, and sent me the tracks. It was in a small, heavily carpeted dead basemen...

Yama G100B 212 Gen I for $65 off of Craig's List. Slapped a fresh pair of Celestion G12 Vinatge 30's in it, cleaned the pots and it sounds smoother than my JC-120 and loves my first-gen Rat pedal in front of my Junior. Oh, and the guy had a dbx1046, too. I gave him $35 for that; I'll use it for live...

Behringer VM1 Delay/Echo box with each out (dry/wet) running into separate VTB1's with cheap tubes. Then run the VTB1's in stereo into a Yamaha G100B 212 model III and mic that and squash the living hell out of it. Don't smoke anything 'funny' before you start messing with the delay box and the "Tub...

fwiw, I recently tracked a punk band. The guitarist had a cheap Crate half stack. I used a SM57 about 3" off of the grill, moving it off axis until we were happy. I then placed an i5 about three feet out. The guitarist wanted the same thing you want- "loud" not "big." Needless to say, cheap guitar t...