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I'm talking to a friend who has an 002 and will be buying an 003 for a second room. I've only ever worked on HD rigs so I'm not sure what to tell him but I am curious. What would be the best way to get at least 24 I/O on these rigs?

It really depends on if you tracked it and if you are in the box you are probably making tweaks all along the way. It also depends on the arrangement. Four tracks of strings, eight tracks of guitar, ten tracks of drums, three tracks of bass, and six tracks of vocals tends to take a lot longer than s...

I also do the multi-buss situation, but speaking of Brauer, I have my ADL670 across the main insert after all the multi buss stuff happens including the parallel buss's and aux's and stuff. I hear it's great. Anthony tried to get me to buy one. LOL I'm not sure how much Michael is actually using th...

I also do the multi-buss situation, but speaking of Brauer, I have my ADL670 across the main insert after all the multi buss stuff happens including the parallel buss's and aux's and stuff. I hear it's great. Anthony tried to get me to buy one. LOL I'm not sure how much Michael is actually using th...

hey rick slater, are you sending all the drums to the distressor buss? or mainly the close mics or? do you have everything going to the main buss, and the compressed busses are all in parallel or does some stuff just go to the compressors? i am just curious. There really is no main compressed buss ...

I usually get one done the first day. This involves a lot of set up and getting all the gear setup. The rest of the days end up being two or three song days.

I've used a lot of different 2-buss compressors but lately I really enjoy using multi buss compression. I'll have a stereo send for light stuff usually a Neve 33609 at 1.5:1. Next up I'm pumping up drums and bass usually with a pair of Distressors. Guitars and percussive keys go into the third buss ...

If you do XY, think of centering it over a line running through the kick and snare, rather than the set as a whole... another way to put it would be that the line between the two mics is not parallel to the drumset... this keeps the kick and snare centered. I've been doing that for a while now and ...

RoyMatthews wrote:Years ago we got our replacement OPTOs from ADL:
http://www.anthonydemarialabs.com/produ ... optorepair

Hi Roy! Anthony definitely rocks. I get my t4s from him and love how my LA3As sound with them.

95% of the time I print off the console back to Pro Tools and to 1/2". So far the clients always end up choosing to master from the tape. I've been using the RMG 900.

If something sounds wimpy (and you use analog mixing desk) stick something with a 600 ohm line transformer between your DAW and the line in to the console. My LA3A's rock with Anthony DiMaria rebuilt T4s My Moog Parametric EQ rocks too. Some cool pedals are my Mu-tron envelope filter, MXR Flanger, I...

are we talking about a room mic in a drum room only? I am just wondering how well this wouldn't work if any other instruments were being tracked in the same room. Actually a little leakage doesn't really seem to be noticeable. I f you had too much you'd hear other instruments get that same gated ef...

Hey Roy,

Great to see you. Hope all is well. Well you know; mult the top snare mic and gate and compress the hell out of that and print it to it's own track.... come to think of it, it really was tape!

I think they are really great for drums and guitars. It depends what you are recording with your ribbon mics. I haven't used them with ribbons but they rocked on dynamic and small condensor mics. Lots of color though.

O))) wrote:Oh, right, I failed to clarify that. He was gating during tracking.

Are you sure he wasn't gating just the monitor channel and not to tape?