Message Board

PM'ed about the Behringer Compressor.

Hey all,
One of the issues that just about every engineer seems to fight with is the low mids and bass in their recordings. Unfortunately, not everybody has a access to a nice set of full-range speakers, so I'd like to ask you all:
What's your favorite method of checking the bass in your recordings?

I definitely recommend picking that book up. Aside from giving some decent insights into some of the processes he used, it gives (I feel) a much more objective view into the dynamics of the Beatles.

I bet that it's a box full of Behringer. Maybe someone will get a deal? Let's try to guess... American made, cherry (finish?)... The properties of the image tags give the clues. It's an american made Fender something, a Boss something, an Ernie Ball something, and a tuner. Given Behringer's practic...

This seems really interesting. I know a few art venues that might be interested in screening this, so I'll pass it along.

Sorry if this topic has been done before. I sifted through a few pages of search results and didn't find what I needed.

What have been people's experiences with different types of patch bay cables? Is there any particular advantage of TT over military plugs?

In all honesty, I tend to worry more about the cold and my instruments than heat. If the temperature is within a reasonable range (say, no less than 60) I wouldn't worry about it. That being said, if you're really concerned about humidity, I suppose you could see about purchasing a few of the sponge...

Check out the Shure KSM 141's. They're a rather solid pair of mics and they have the added bonus of being switchable between omni and cardiod. I've both seen and used them on everything from snare, to overheads to a main pair in an orchestral recording.

I don't know what context your bass is in, so I'll give a few examples: In a jazz context, I generally like to mic about a foot or so away, just above the bridge. If there is not much isolation available, I tend to go towards the RE20 to get some rejection. Otherwise, I tend to move towards the larg...

Not knowing what the room sounds like, it's hard for me to give anything definite. I've generally been a fan of using spaced omni's, but as mentioned prior, if the room doesn't sound good, that might not be your array of choice. I haven't used any of the ADK gear, but one possibility might be to use...

I have an Agop Istanbul ride that I absolutely adore. However, I am primarily a jazz/funk player, so depending on what you're looking for, it might not be the right thing. Ultimately, you just have to play a ton until you find one you like, but do check out the Mehmet series if you're playing heavie...

What's your price?

Hey there, I own an HDR 24/96 and am looking to purchase a few of the analog in cards for it (I am currently using the Apogee digital in cards.) The main problem I am encountering is that I can't find a vendor who still sells these. Am I pretty much relegated to ebay-land, or are do you know of any ...

my advice: buy more channels than you think you need and make 'em longer than you think you need. oh, and be sure to talk the folks at redco before you buy... My plan was actually to order the snake cabling, connectors and such from Redco and assemble it myself. Judging by the "dot dot dot," am I o...

Hey all,

I've been contemplating buying a two-channel snake for on-site recording using a stereo pair. I have two questions:
1. Would it be wiser to get a 4 or 8 channel snake in order to be able to expand?
2. I've been bouncing between 50 or 100 feet. What length would you recommend?