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The only way to get a great double is to really know the vocal part. Consistency between the takes is what makes it work.

If you can't sing the vocal part consistently, you should practice it until you can. If you really learn it, you'll have no problem doubling.

Man, the Glyn John's/Overhead mics are real squashed! What don't you like about the sound? It's really hard to judge the sound when it's just drums alone, and no other instruments. Anyway, here's how I would approach this: For bass drums, I try to get as much attack as possible from the batter head ...

If you were limited to use of only 1 of these mics (re20 or 421) on everything which one would you rather be stuck with? I'll go with the 421. They both sound great on all kinds of things, but the 421 is a little smaller than the RE-20, and sometimes I've gotta sneak mics into tight spots. Either w...

Like Noeqplease said, the band must be pretty damn good to pull this off. Using gobos/baffles is extremely important for separation when the band is in the same room. There will still be plenty of bleed, it'll just be more manageable. I've always built a little house around the bass amp with gobos. ...

I would love to hear some examples of what that thing can do.

I have re-recorded over old tape many times. No problems.

Your friend is very inconsiderate.

WFMU is the only radio station I listen to. It is fantastic. You cannot buy all kinds music that they play, but I still enjoy listening.

That truly is the beast!

D12 is rad on kick and bass guitar.

What about condensors that are good for in front of the kick?

U47 FET.

I loves me a 441 on bottom snare. You could try 2 mics on the top of the snare drum. A 57 with some kind of SDC, like a 451, taped (or zip tied) to it will help add some beef to the snare sound. You've got to get the diaphragms of both mics lined up so that they sound rad and not phasey/nasty. curre...

Just give me a console full of one kind of awesome pre. I will not complain. In fact, I will be very happy.

Different flavors are good too, but not necessary.

I like to be paid for the work I do. It's very common for a producer to work on a spec deal where he/she keeps ownership of the masters and gets points, but no money. I find this somewhat absurd. I cannot work for weeks straight without being paid. I'll starve. I cannot eat the masters. I cannot pay...

To his credit the Glyn Johns drum mic setup is a bit of an obscure and hard to understand mic technique...

I don't mean to sound douchey, but I totally disagree. I would be worried about studying under a recording teacher who is unfamiliar with this technique.

Perhaps you can help educate him.

SVT!!!! overdrive is pretty crucial for rock pick bass, especially if someone's technique isn't so hot. Word up. It's pretty common, for hard rock, to record the bassist through a DI, an SVT with 8x10 cab, and some kind of more distorted guitar amp setup at the same time. A little dirt is a good th...