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Here's a link to a tutorial article I wrote a while back on the subject ofgain staging. Another one to add to the article resource>
http://rocksuresoundz.com/2012/03/07/au ... n-staging/

Mid-side is definitely a pretty cool method when used in the right context. The fact that the side ambience disappears in mono when using a cardioid mic in the center is why I think it is favoured in broadcast. Interestingly though, in Alan Blumlein's original patent of the m/s technique he used an ...

me personally...i follow the pre with a comp. That way you can push it and keep the tone, but then adjust the comp to subtlely subdue the signal.. Yes I do that too. My sm7b chain is usually one of these two options. a) sm7b>Valley People Transamp preamp> ART Pro VLA comp b) sm7b>Ward Beck M470A pr...

Great idea! So are there any commercially available boxes that do this?

When recording drums, I usually measure the distance from the middle of the snare drum to each of the overhead mics and try to keep them the same distance apart. Then I also measure the distance from the middle of the snare to any room mics, and try to position those room mics at double the distance...

I still love vintage compressors, and I still record lots of things using compression on the way in. Done right, compression is a great tool to get good mixes. I wrote a tutorial recently on the compressors and their use, and understanding all the controls etc. It's not strictly about vintage compre...

Yeah it's kind of lack saying, "the drums sounded pretty good apart from the fact that the drummer couldn't keep time, had his drums tuned poorly and played at an inconsistent volume. But this way made up for by the fact that a poor selection of mics had been used to capture the kit. Things were fur...

For me it depends just how bad something is. If it's really bad and totally uninspiring I just would say sorry I'm not going to touch it. I have had to fix some pretty lousy recordings at times. IN the end it is time consuming and often the results are still not as good as if the recording had been ...

I thought I should post a link to a tutorial I wrote that deals with the issues of gain staging and headroom. For anyone who may find themselves struggling with distorting mixes, or lack of headroom when mixing, it may be a helpful read for you; So here is the link: http://rocksuresoundz.com/2012/03...

I find mixing my own music more the fun part than actually recording it. When I am playing I am often so focused on not making mistakes and getting a good performance that I don't enjoy it so much. When it comes to mixing though, I can let my creative imagination run wild and do all sorts of sonic t...

I often add a room mic to my two close mics on a guitar amp. I never phase align them. I place the distant mic somehwere in the room where the amp sounds sweetest to my ears. At mixdown I pan it to a different part of the mix, often adding extra effects and/or compression to it, and then mix it in, ...

A stage box/snake is a handy idea. You can move it round where you need it if necessary. They also usually have at least four returns on them as well, which can be handy for running mixes back to the studio room monitors, headphone mixers etc, without the need for so much cable spaghetti.

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My micing technique for amps is always the same. As follows: First, I place two dynamic microphones at 90 degrees to each other, aimed at the center of a speaker, close to the grille of the amp. These mics therefore, are 45 degrees from the center of the cone but aiming at the cone's body. They pic ...

The Sennheiser 416 as a shotgun, and a good handheld reporters mic as well is a good place to start as far as microphones go anyway.