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Recent gear gnoshes include GT ViPre, Phoenix DRS-Q4, Summit DCL200, Gibson SG and a Toft ATB 8. Other stuff too.....

I guess I just never 'got' the resoning behind removing the grill on a 58 other than placement ease. Its not a 57 folks. Even without the protective grill. The 58 has more rise in the proximity bump than a 57....its why those capsules go in 58's.....

Isnt simplicity awesome?!!

Theres not enough duct tape on the mic for that to work.......... I have a LOT of bass gear. I have yet to use any of it to record with ever since I got access to a couple of tube bass preamps....and the Hartke Bass Attack pedal thingy is the best $69.95 I've ever spent. Not saying you cant get a gr...

I like all of these suggestions . In my modest little set-up I've been using the KEL HM1 outside the resonant for some time now with an ATM25 inside. A very LARGE sound with the proper tuning on the kik , of course. A Studio Projects B3 also works quite well in this situation and you can use the fig...

i generally don't do any eq on the OH's and very very light compression. the overheads should be an overall representation of the kit, with the rest of the mics filling in. Yes and as was stated earlier, the opposite can also be the technique. It depends entirely on the room and the style of the mu...

I have owned both a 5050 and a 38. The 5050 is much more the 'pro' sounding unit and has a much better transport and playback amps than the 38. However, a 38 in pristine condition is still going to be hundreds of bucks cheaper and both are still supported. I didnt like the fact (its been mentioned) ...

I had an AC15 back in the day. It was so tribal when you turned it up but 4 hours of thundering around with it would put it out of commission every time. The little tube Cambridge was a much more hearty mate and was still working when I sold it. Every weekend these days, I get to hear and occasional...

Yeah to the 'difference' that these mics demonstrate. The voicings make these a different pallette than everything else currently on the market. Not necessarily 'better' but different. Mine is now the go-to electric guitar amp mic. It replaced my favorite 30 year-old SM57 unidyneIII. The detail is g...

Late to dinner as usual....but, I get the 'best' sound out of the acoustic with the U87 and the 4033 through the ADL600 or, surprisingly so, the ART MPA. These mics also work through the Ghost pres..... 87 is in omni @ 3' slightly above the neck at the 12th fret...the 4033 angled down below the brid...

So many guitars....so many different sounds.....so many techniques...... Ones not 'better' than another....only 'more appropriate for now'..... A guitar thats maybe a bit thin on the bottom end might get the SM81 in mono at the appropriate spot out in front and an 87 up in the air for some room size...

I have the older American version and wish I had three more of em. Excellent description of the tube differences BTW.

Mine stays across the drum buss at all times unless I need it to track with.

Since I very rarely track with compression itsa no brainer.

Console for sure... The sticker shock of tape has been mentioned. It is REAL!! Get a small tape machine first. Lots of very nice conditioned 1" machines out there.. 1" 8 track maybe...Now were talking older stuff but the drums would sound so good...

Just some musings....

SWR Workingmans 160. Available in several different speaker configurations. The 2-10 self-contained is about as pure as anything made. Even the solid-state SWR's have that Fender tone stack sound. They do make a hybrid amp also. It has the tube pre and solid state power. Also available in a number o...

Thanx Joel....ya see, I was typing at well over 120 words per decade and missed that stroke of the last 'r'..... I know the name, just got ahead of myself or tried to use both hands....(whut was I thinkin??)