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heh. That's awesome. So true.


Meck

This is the custom shop adk tube mic, voiced after a U67. In great shape, with shockmount, power supply, and case. Wonderful mic, not too crispy, very articulate, sounds nice on everything I put it in front of. Only selling because it's a single, and I have some other mics that I like as much in pai...

unless this particular all in one design is unlike any other....no.

All I have to add here is that the gear certainly does matter as well. You're not likely to get big budget vocal sound with cheapo preamps, compressors, and microphones. that doesn't mean you can't get a great vocal with, say, an SM7, but in order to do so, you need a good chain around it-and while ...

no, it does lean that way. I think it has to do with the directionality of the sound coming off the snare drum. I do one of two things: I either turn that side down a little, or the other up until the snare is centered- or usually I pan them a little asymmetrically so the snare sits in the middle. T...

I'll second turning the monitors up loud and faders down. and I usually start with the vocal and drums. Get those at the levels I want and then bring the other elements in. (Usually I'm doing rock/alt/country/whatever stuff, normal 2 electrics, an acoustic or mandolin/fiddle/banjo/steel what have yo...

I've found that occasionally I have some extra low end information that shows up in the mastering lab, but not really anywhere else. So the mastering engineer sort of carves it out a little and there you go. Usually it's just a little too much rumble on a kick drum. I don't use a sub in monitoring, ...

I could see that. I don't do metal or anything like that really, so I could see where you'd want to mix that loud. Of course, I find that if you can hear it all clearly at low to moderate volumes, it just seems to sound better to me when i turn it up loud. But that's just me, and I mostly do rootsy/...

oops, just saw violin and keys not two guitars, bass.

Same thing though; although you may also want to submix keys if they want them in stereo or if they have multiple keyboards you may want to submix those in advance also to either one mono or two stereo as a group.

I did a record just like this a few years ago, only on an Teac 80-8. It was my first foray into recording, and I was asking a similar question on one of the boards and Bob Ohlsson from Motown answered. Kinda freaked me out. Anyway, I took his advice and did it like this: I wanted to (and was advised...

I love those little TC's for the delays. I love to just tap it out or crank a knob until it's what I want. I love that I don't have to scroll through menus and stuff. i have two.

And I think the plate reverb sounds are fair on it, too, for what it is.

Chris

well I definitely think you should try to get good sounds at the source. I don't know about 'talent'. I guess I have some understanding of frequencies, and how things work together (or against each other). I think maybe people who struggle with this particular problem are probably mixing at too high...

Yeah. Me too. I mean, I check it loud now and then, but I basically mix about as loud as I listen to the TV. Which is to say, loud enough to really hear it, but not too loud. Perhaps that's the key. Chris p.s.-by the way, i didn't mean to imply that my mixes were KICKASS, just that they sounded cons...

Why not get another 160A, then you could use them as a stereo comp?

How about one of the Orban units? Those are cool and have their own sort of sound going on. They usually go in that neighborhood.

chris

I was working in a basement studio in another house, and felt like the mixes/sounds were translating well when I burned test CD's to try in the car and other environments. I had some baffles I'd built, but no other real treatment. I have some pretty nice older EAW monitors (not sure what the model n...