Message Board

Yeah. Usually I'll get a solid, rough, static mix with perhaps more compression than I'll use on the final mix. Then I'll add automation to restore some dynamics, and often back off on the compressors some.

Depends on the mix though....

I often use my Faderport, which has just one fader, to write automation curves, especially on critical tracks. I usually go back and edit the curves, though. For my mixes, just about everything is subject to riding. Particularly if it has compression on it, that obviously reduces dynamic range so I ...

If you want to learn these techniques in detail, I suggest Rod Gervais' studio building book. He shows them in detail.

Of course code varies from place to place, so you may wish to consult your plan with someone familiar with the local code.

Crap like this is the biggest reason I will never understand why Pro Tools remains so dominant in Pro Audio.

This looks promising:

http://www.parts-express.com/dayton-aud ... m--295-378

Here's a cool design from another forum in 2003..... Thomas Barefoot's (who went on to start the Barefoot monitor company) Killatones:

http://www.johnlsayers.com/phpBB2/viewt ... f=12&t=297

I assume you tried contacting A&H, their parts department?

This is really cool, it has an entire section on the Canterbury scene:

https://www.youtube.com/watch?v=Rt6uWZp ... W1vqNYosLN

+1 on pretty much all the bands listed in this thread so far.

Yeah, Studio One 3.2 has come out since I wrote the above, and I love it even more than 3.1. Editing features are outstanding, and the new console emulation looks like killer technology, with more emulations coming (from Slate et al).

Of course, do what you need to do to serve the song. Many styles need that many mics and sometimes many more. I remember reading that they used like 30 mics to record Neil Peart's drums on a Rush album. But then he's Neil Freakin Peart. But also, many of my favorite drum recordings use only a few mi...

Studio One absolutely rocks my world. I love it. The full version comes bundled with Melodyne. And I never really got into rhythm or time "correction" before, but I have started to explore that space with S1 and the tools it comes with work great and, more importantly, leave no/minimal audible artif...

floid wrote:once I started thinking in terms of kit rather than drums, something clicked.

Bingo. I am not even a shitty drummer, but this was definitely true for me as an engineer.

Oh interesting:

http://www.rollingstone.com/music/news/ ... r-20160211

I don't hear anything unusual or special. Sounds like there was judicious use of a high pass filter to make plenty of space underneath for other stuff. I think it's mostly about the arrangement & the performance. The acoustic doesn't sound particularly hi fi to me; it could have been recorded with j...