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It also rules on floor tom.

I love mine on guitar cabinets. Also set on M.

I use DP3 and I just name the tracks in the computer and that's it. Sometimes I'll feel the need to make a comment about a specific soundbite but that's rare.

Anyone own or use any? Have an opion on it?

I just had a similar dilema. Instead of explaining it, I'll just give you the full email exchange. I'm L and started the exchange, the client is K. ********** What's up dogs? [inside joke] Sorry I missed the show at The Monkey. Assume it went well. Just listened to the cd the other day; I still hear...

Shure KSM-32 works well.

I have one of those. I've been thinking of getting rid of it but I wouldn't put it in the trash!

Thanks for giving us the inside scoop JP - Leif

Room On Fire doesn't sound like the first CD, it doesn't share the same stylized lo-fi production (with the exception of the vocals).

I liked the first CD but ROF is kind of boring. Part of that is due to the cleaner, less interesting production IMO.

Everyone on the compression panel at last years TapOp conference admitted to using the Art Pro VLA; Dave Fridmann said he used it on the mix bus of the Flaming Lips Yoshimi Battles The Pink Robots CD and if I remember right, The Soft Bulletin as well.

Really? This is a nice surprise. I'll have to check it out.

I have the card and use it with DP3. I use the reverb because it's much better than the MOTU ones and I use the compressors accross the mix busses. Adding any UAD plug to a single track is a nightmare becasue of the latency it creates, so I just don't do it. I've rendered tracks in the past but even...

The Clash had a lot of great BG vocals but I can't think of any off hand that were harmonies; most of them were counter melodies or doubles.

Well, I was just holding my clients hand but I'll say The Mastering Lab in Hollywood.

Why? Because I love hi-hat!