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C_R_J wrote:advance your shows. figure out what you are walking into before you get there

I'm flattered you take me for a rock star

Seriously though- thanks for all the advice everyone. I have a much better working knowledge for upcoming shows.

The best sound is probably less of a concern than avoiding disaster, and since things can get crazy in a live setting maybe he just wants conservative levels that give him some wiggle room. Ya- this is a good point, and the conclusion I've come to the more I think this over. The reasons for really ...

Here's the abstract of my rambling below: I feel like I have a good handle on issues of audio, most gear, gain staging... But sometimes I feel very deficient when it comes to live sound. Are there some fundamental differences (especially regarding gain staging) between studio and stage? So... my que...

More & more cheap outboard hardware is starting to get pricey on the used market... Maybe it's best not to write about them so much. We should develop a code, like, if we say something sounds like dogshite*, we really mean it sounds good; if we say a certain bit of gear is dogshite, it's actually c...

^^^^^ That was my thought too. But I know this is all a matter of context & the studio, project budget, artist, engineer...

But ya, textbook example of engineer vs. producer. To be fair, this is a black and white issue in theory, but can get a little gray in practice maybe?

It's because mixing in mono makes you think about putting the elements of the mix in their place by using eq and front to back placement instead of panning. When you've got elements of a mix that are masking each other panning can help give each element it's own space but it doesn't really solve th...

Is mono compatibility still an issue in 2013? I ask half as devil's advocate and half genuinely curious. It's such a common phrase I wonder sometimes if it's just habit to say it, teach it and do it. Is there a common mono playback situation I'm not thinking of? The only that comes to mind is when I...

"It's just a tool"

So true... of everything with an on/off switch in the studio.

and if you're confused about where to go to do so:

www.yourfuckingpollingplace.com/

It's a lot of money to spend if you're just renting. Ya- be careful. A few years ago I moved into a rehearsal studio that I was very happy about finding- great location, nice space. Within a week it had a flooding issue & I had to move out (with a very wet rug). I'm sure others could share similar ...

Adding to what others have rightfully said- keep in mind that there's a world of difference between doing something for free, and charging what may seem like a ridiculously low fee like $5/hr. I don't record for a living, but I do play for a living (if you can call it that...) As others can attest- ...

alot going on in this thread... but one quick thought: blanket statements like "modern jazz went to shit..." are not totally informed. ya, there's alot of lame shit coming out of conservatories but don't forget that there was also alot of lame shit floating around back in the gritty, untrained (roma...

For sure- those are just some reasons why people like Pinkerton. Don't feel like it's your bad taste if you don't. It's a drag to feel like you are supposed to like something or do something a certain way in the studio.

Tragibigzanda wrote:Yea, another record that I would call "muffled" is the Breeders' "Mountain Battles."

Ya +1 to that. How about Wilco's A Ghost is Born. Probably one of the more muffled albums I know. We could probably go on all day

Ya- agreed with everyone on this.
Tdrop- if you want to hear actual "muffled" listen to the kick on the Blue album. I can practically smell the nasty pillow stuffed in that drum!